oneKDDI DESIGNING STUDIO Opening Event

As an establishment providing extensive communication between various aspects of life, the “KDDI DESIGNING STUDIO” in Jingumae, Shibyua opened on March 4th. Accompanying this opening is a special opening event scheduled to be held between March 4 (Fri) ~ March 28 (Mon), including live music, DJs and an visual installation by TOMATO. Acoustic group BE THE VOICE representing Asia will also be performing a live session. Free entrance. More information found on the website.

>TOMATO VISUAL live PERFORMANCE “YOU-ME-WHO?”
Date : March 26, 2005 (Sat)
Guests : [VISUAL LIVE] Touta Hasegawa (TOMATO), Simon Taylor (TOMATO) [DJ] ANDREW HALE [LIVE PA] Calm (music conception) + Yuichiro Kato

>HORIZOM LIVE “BREAK” BE THE VOICE ~EPOCHS~
Date : March 19, 2005 (Sat)
Guest : BE THE VOICE
KDDI DESIGNING STUDIO official website : http://www.kds.kddi.com/
Place : 1st Communication Studio 1-33-16 Jingumae, Shibuya, TokyoHost : KDDI DESIGNING STUDIOPlanning : B2ENGINE Produce : GAS AS INTERFACE

twoTAKEI GOODMAN EXHIBITION

A solo exhibition by the director Takei Goodman is going down at Nakameguro DEPOT.<goodman.jpg >As his first non-visual exhibition, DEPOT will be transformed into a “WizShop”, based on Goodman’s “Wiz Entertainment” for a limited term. It will explore the realms of the WIZCAP photos photographed by Goodman himself, and will also include an exclusive visual drive installation, and a WCC (Wiz Cap Club) visual profile. Expect the Takei Goodman we all came to love.

> Date : March 15 (Tues) ~ April 3 (Sun)OPEN : 17:00~22:00CLOSED : MonURL : http://www.depotcrew.com/

threeSHIFT 100th Issue

Representing the Japanese graphic scene, online magazine SHIFT issued its first release on November, 1996. As of this March, SHIFT will be celebrating its 100th issue, giving out special gifts to 100 readers from artists all over the world who have blessed the online magazine’s cover design over the years. Present deadline is April 10th. Original collaboration t-shirt by SHIFT and Tomoaki Ryu, who is holding an exhibition at the SOSO Café will be sold at the exhibition. Limited number of 100. (duh)

URL : http://www.shift.jp.org/Δ

oneSAL magazine Vol.14 Release

Advertisements exist on a higher plain. As a professional scene, it is important that as advertisements are economic activity as well as creative activity of high standards.

SAL magazine presents to you, the “Advertising” Issue. The entire issue is composed of advertisement graphics. Ads are often referred to as a reflection of the times. Representing a certain product, advertisements carry a mission to reach far and wide. They are released into society with precise timing, and are followed by a chain of other ads. The creations that occur within this system is the theme of this issue.

The graphics that appear on the pages do not appear to ‘advertise’ the certain products or campaigns it was initially made to represent. Some are real time ads, and some are out of its date. Some develop over a few pages as they were produced as a series. Most of the ads gathered for this issue where made to appear in magazines, advertisements developed for paper media.

Fashion magazines, music magazines, design magazines, anime magazines, magazines specializing in certain hobbies…magazine advertisements are fit to aim at the readers of each different type of magazine. So you will find a music ad in a music magazine, and in the same way a fashion ad in a fashion magazine. In this issue of SAL magazine, you will find ads that could never be found together on the same magazine, facing each other on two pages. The composition of the different types of ads included in this issue is quite unique. Kindly offered by each of the corporations, these advertisements are of high quality and reflect the vibe of Japanese culture of today. Experience the message in the graphic artwork, and the overwhelming energy in the creation. Take into notion; what really is an advertisement?

> Cooperating companies / brands : TOWER RECORDS (NMNL) / TENDO PLY / DIESEL / GONZO / BEAMS / NIKE JAPAN / Mi MAGAZINE / IMAGICA / X-GIRL / others

two|TOWA TEI’s First Visual Book “Listen to the Book”

Artist Towa Tei’s first visual book, “Listen to the Book” hits the market. Record / CD cover designs, flyer and poster artwork, photographs, self portraits by famous illustrators collected over 15 years since his debut, remixed by the eyes of himself today. Towa Tei’s visual world is one achieved by the vastness of his work, expanding beyond the border of music and graphics. A publication with the same groove and aesthetics as his musical creations.

> Release : March 28th|Format : B5 / 272 pages|Price : 3,990 yen (without tax)|Author : Towa Tei Design & Layout : Towa Tei & Enlightenment Original Artwork Direction : Towa Tei & Tycoon Graphics|URL : http://www.towatei.com

three|SK8THING “Namida no Kaiju Party”

Designer for the street brand clothing line, A Bathing Ape, Sk8thing has teamed up with Tsuburaya Productions (responsible for the Ultraman series). By recapturing the works of Tsuburaya Productions and fitting a storyline into the work, Sk8thing has come up with an entirely new book. <kaiju_party.jpg> Parts of the book consist of 3-D visuals, which can be properly viewed with the 3-D goggles (old school!) that come with the book. 100% sampling free collages from the numerous Tsuburaya Production releases from the past, this twisted invention reflect Sk8thing’s eye for monsters. Response from Jingumae to the neo-monster movement. Monster style wars. Guests include Kan Takagi, Kunio Iwaya and more. Check the graffiti piece done by an Australian crew down in Melbourne.

> Release : March 25th|Format : 96 pages|Author : Sk8thing|Price : 2,300yen (without tax)|Supervisor : Tsuburaya Production Publisher : Asuka Shinsha Writers: Sk8thing, Sun, Kan Takagi, Kunio Iwaya, PAM (from Melbourne)|FORMAT: Section 1 : Sound Sonic, Section 2 : Fashion, Section 3 : Hot Wall Comes with Sk8thing designed special 3-D goggles. American Paper Optics ChromaDepth 3-D ®

four|Publication “Novelty Design” Released Next Month

“Novelty Design,” a publication the SAL magazine editorial team has been working on is due release next month on April 8th from Shoueisha. As the first of a series titled DESIGNER’S SOURCE BOOK, this publication is a utility design book, the first of its kind. Well all books newly released are the first of its kind, but to explain a little further, this book is not a design application instruction manual. It is also not just an art book mainly focusing on graphics. This publication focuses on novelty goods, as we have interviewed numerous people to carefully select novelty goods of high quality, design and idea. These products will be introduced in the format of photographs. Information gathered from various printing companies and domestic companies producing such goods will also be included.

This book will largely focus on 3 aspects. The designer, the printing company, and the client. Appearances are as follows:

Groovisions (Hiroshi Ito), Masaru Ishiura (TGB design), Yurioseki, Naohiro Ukawa, ASYL design (Naoki Sato).

Atomi, Tenprint, GRAPH (Issei Kitagawa). Shinchosha (Yonda?), Takuya Oonuki, BEAMS, Tower Records (NMNL), Hideaki Komiyama (TGB design), Nike Japan, Tycoon Graphics (TYGUN), Shiseido (MAJOLICA MAJORICA).

Designed by Hiroshi Nakajima, photographed by Natsu Tanimoto. To go with the subject, we have also produced our own novelty product. Practical, yet good to have…so we have enclosed 5 CD-ROMs along with the book. Cover design by Inaba Hideki. Available only in selected stores such as Aoyama Book Center and online stores such as Amazon. Pictures of the book will be updated next month.Δ

London Report: “Love at First Sight: The Mills and Boon covers of Lawrence Houghton at Simon Finch Art”

Simon Finch Art <http://www.simonfinchart.com> opened in December, 2003 after moving to a bigger gallery/book shop which gave them more space. Simon Finch has been known for dealing in rare books and prints <http://www.simonfinch.com> but the gallery/shop on Portobello Road sells photographs and contemporary art books. They also have photography and art exhibitions 6 times a year. At the moment, they have an exhibition of paintings by Lawrence Houghton for Valentines Day <houghton_gallery.jpg>. All are pictures from the covers of the books of the well known “Mills and Boon” series of romantic novels <http://www.millsandboon.co.uk>. The collection spans through the sixties, seventies and eighties. A nurse and a doctor, a couple grasping on to each other at lakeside...You can imagine the situations and images <houghton_painting.jpg>. I could describe this as the Bell-Bara, manga comics, plus soap opera with some essence of a James Bond love story. You might feel a little embarrassment at first, although they have a nice kitsch quality when you look at them today. This is very British and easy to understand for everyone because the theme here is familiar to us. The paintings themselves are well finished, they're worth seeing. You can buy the paintings (there is a large collection of unmounted as well as mounted paintings on the walls) <houghton_shelf.jpg>. The exhibition might make you think that it would be nice to be a collector of retro-sexy paintings. It is very relaxing to have a look at them. I think that it may be a unique aspect of London to show British dandiness to us in a gallery that is enclosed in contemporary architecture and a post-modern environment.

>Simon Finch ArtAddress: 319 Portobello Road, London W11 5SYTEL: 020-8962-8620, FAX: 020-8964-0503Email: art@simonfinchart.comOpening hours: 10am – 6pm (Mon-Sat)Station: Ladbroke Grove / Westbourne Park / Notting Hill GateΔ

The Underground History of Thought
“Life Rolling Around as a Spinning Wheel”
by Shoe (Massage)

I don't know what happened, and I don't know what went wrong, but as a result of the free-associations of time, we have ended up in a state in which we are always at the last day of history. While pushing through the heavy sea of six billion free-wills, we keep on witnessing the renewal of the world-record of elapsed time. The enigmatic chain of phenomena that has trouble choosing between manifesting itself as the unknown or the known, seems to go by a principle that is distinct from causality, and separate from the wheel of transmigration that binds us to this transient world.

By this principle, things that had been forbidden before without anybody knowing about it are suddenly allowed because of the pressures of time, and it becomes a part of the ever-changing form of the world. Even the boredom of the ordinary life, which seems to continue forever, is in fact an unprecedented event in each moment that it arises. There's really no precedent of the moment in which we emotionally say to an unexpected situation: “no, there's no precedent of such a thing.” After we experience this kind of realization, we have to begin to face certain things, with either resignation or leniency. “YES” and “NO” ultimately converge into a single “YES.” It's not about affirming or negating, but about confirming and accepting. It doesn't mean that the force of rebellion is powerless against history; it's just that we have to work towards accepting the notion that the variations of the potential world, which become embodied in the real world, are always being defrosted as historical truths. History renews itself in this way, and we have to understand this history before it's edited in blogs, magazines, and liner notes, but do we have enough time to spend to understand the time needed to understand the time needed to understand this understanding? Self-reference is so disgusting.

Even within this repeatedly mutating flow of time, I have experienced a number of moments in which I was able to think, “I've always known this moment.” In any ordinary situation, like when I'm chilling with my friends and talking about silly things, I am suddenly lifted out of that particular flow of time. Through a subjectiveness that is united with objectiveness, I examine, as if I'm an alien, each of the numerous elaborate elements that are distributed in that particular flow of time, and view the fields of existence in which flux is the only form of stillness. The ferociousness of this stillness devotedly guards the elegance of flux, and the phenomena that are frozen into particular moments lose their relations, on the axis of time, with other phenomena, and each of them simultaneously become elements, mediums, and compounds. In this moment of clarity, all beings including myself are equally unfamiliar to me, but at the same time, they emit a warmth as if though they had been stowed in my memory for ages. Maybe the things I have seen and become familiar with throughout my life were in fact the seeds of moments like these. What Buddhists call “Arayashiki,” what new-agers call the “Akashic Record,” and what I call “thinking too hard.” If this is what it is, then each phenomenon is a piece of information that is defined by each moment, and these pieces form a chain; this chain is a backup-password that is required to run the application called the world. This password is defrosted sometimes by rhyme, sometimes by luck, and sometimes by THC; it draws a circle that doesn't close for infinity.

In India, a society based on Hinduism, the concept of transmigration penetrates into people's daily lives in the form of a social structure: the caste system. It is said that one's previous life determines the caste that they are born into. When the Atman, or the spiritual nucleus of the psyche, believed to be distinct from the physical body, unites with the Brahman, nirvana is achieved, and the long, long cycle of transmigration comes to a finish. The current Indian constitution has abolished the system of the “untouchables” (outcasts of the social hierarchy), but its negative influences still remain. The propagation of Buddhism is thriving in contemporary India because it attempts to liberate citizens from unjust inequalities, and criticizes Hinduism for preaching about the cycle of transmigration as a premise for sustaining a heartless social structure. It is said that 50 million Indians have converted to Buddhism in recent times. The forerunning leader of this movement is a Japanese by the name of Sasai-shi. He has been striving to fulfill social reform through religion, for 36 years now in India.

2000 years ago, chief Nagasena, who led India's Buddhist sanga, stated that “time is the cycle of transmigration itself.” If we accept this statement, then the chain of information that we follow must be an immutable string of code that constantly alters the password that is needed to defrost it. And, my temporarily clear view of the fields of “the instant” probably belonged to a flow of time that is divorced from history: a flow of time that completely became, through inevitable chance, the password that I myself needed to decipher the world. As I finish writing this text, I am possessed by the illusion that I am recollecting the day that I was writing this text in my young age, from the point at the end of my life.

NEW HYPE RESEARCH
Against OLD HYPE BOMB FILE #009
Kunio Kato: Soft Landing Art-Animation Is Going to Transcend Hype
by Keita Fukasawa

In the past decade, DTP and DTM have become self-evident concepts with the proliferation of the personal computer, and the prerogatives of the “creative industry” have gradually seeped out into the soil of the public. According to Naohiro Ukawa, just as the pioneers of experimental film such as Toshio Matsumoto and Keiichi Tanaami brought film-making to a more personal level in the 60's using gadgets like the 8mm camera, people are bringing all forms of expression to a more liberated, personal plane using PCs. I think that the Flash-movie submission contest site “Kouhaku Flash Gassen” <http://flash.chbox.com/rw04/> may be a good example. These Flash artisans individually produce visual works, and critique each other's works through their networks of blogs and BCCs. It's a truly noteworthy situation. However, it's essentially distinct from the intimate relationship between the internet and creativity that people used to fantasize about in the past. While we are amazed by the skill and cleverness involved in these works, when viewed purely as creative expression, they truthfully reflect a certain climate that is particular to the internet, which involves fixations to individual tastes that are cultural dead-ends, and niches of sensibilities that are shared only by a particular circle of people. This trend is an issue for everyone who is involved in any kind of creative expression in today's society.

I found a hint for this problem in the art-animation DVD “Aru Tabibito no Nikki [The Diary of a Traveller]” (on sale now from Geneon Entertainment). This is a series of clips that were produced in order to be distributed on the internet by Shockwave <http://www.jp.shockwave.com/animations/animations.html>. When we hear the phrase “art-animation,” the works from the Czech Republic <http://columbia.jp/dvd/titles/artanime/> come to mind. The prefix “art-” is applied in this case to differentiate from commercial animation, but when considered in terms of creative intensity, the prime requirement to be able to describe a work with “art-” would be the ability of the artist to perceive unparalleled illusionary images. The most important thing is that the artist has the uncanny ability to see extraordinary visions; skills and cleverness are secondary. The number of people involved in artistic expression are increasing at an astounding rate, so a powerful creative mind is going to be the main requirement for standing out from the crowd. However, there are many instances in which artists are over-obsessed with opposing the world of Hype that surrounds them. This happens because these people limit themselves to an indies mentality, and only see the concept of “art-” as being a countermeasure to capitalism=Hype. In our contemporary age, the stance of the artist and the scale of production can no longer be factors in determining whether something is worthy of the prefix “art-.” Kato's brilliance lies in how he easily leaps his way over this problem, and refines his personal visions into a form that can be appreciated by people of all ages. In other words, he has a certain “landing ability”: the skill to manifest images of the personal realm into the material world. The unique vibe of Kato's “Aru Tabibito no Nikki [The Diary of a Traveller]” is a comfortable experience, partly because it displays the artists' exquisite balance-control between his illusionary visions and his “landing ability,” leading us to a realm that has broken through the dualistic schema of Art vs. Hype. This work is a direct example of what “art-” and creativity can do in this age, and a hint at how to escape cultural dead-ends. For those Flash “artisans” who are attempting to become “artists,” this balance-control is going to be a significant issue.

......Right after I wrote this, I tried to update my copy of Flash to the newest version, when my Mac immediately froze. A frenzical, destructive vision whooshed around my mind, only to be sucked back into my soiled body without making any landings. It made me quiver.

News-29
“Flash-San”
by NIK (PROGRESSIVE FOrM)

Hi everyone. I'm currently in an intensely busy period. This is because “Look” is going to be released on March 28 <http://www.rittor-music.co.jp>, and “Flash” is going to be released on April 2 <http://www.v2records.co.jp>. The actual production is just about finished, but we've still got to deal with press coverage and promotion, there's the tour that starts on April 1, and lots and lots of related affairs that go along with it. Very busy. Even right now, I'm in the middle of press coverage (excuse me for writing this text!). I've released information about “Flash” and “Look” on lots of media, so here, I'm going to update you with the latest information on the “Flash Tour.” For more information, go to <http://www.towatei.com>.

>TOWA TEI Album “FLASH” Release Tour
4/1(fri) Tokyo Shinkiba ageHa@Studio Coast
DJ: Towa Tei, Taku Takahashi (M-flo), Moodman and moreLIVE: AfraVJ Naohiro Ukawa (MOM/N/DAD PRODUCTIONS)Info: Kyodo Tokyo03-3498-9999studio coast ageHaURL : http://www.ageha.com 4/8(fri) Osaka@UnderLounge
DJ: Towa Tei, Tomoyuki Tanaka (Fantastic Plastic Machine) and moreLIVE: Afra, Eater (Daisyworld Discs/PROGRESSIVE FOrM)VJ: Naohiro Ukawa (MOM/N/DAD PRODUCTIONS)Info: UnderLounge06-6214-3322URL : http://www.under-lounge.com
4/15(fri) Nagoya@Ozon
DJ: Towa Tei and moreVJ: Naohiro Ukawa (MOM/N/DAD PRODUCTIONS)Info: Ozon Corporation052-261-5999URL : http://www.ozon.co.jp
4/16(sat) Kanazawa@Eight Hall
DJ: Towa Tei and moreInfo: Eight Hall076-264-3586URL : http://www.eighthall.com
4/23(sat) Sapporo@F-45
DJ: Towa Tei, Shinichi Osawa (Mondo Grosso), DJ Musashi (Tycoon Graphics)and moreVJ: Hiro Sugiyama (Enlightenment)Info: Roth Entertainment011-208-0651URL : http://www.rothproject.net
4/28(thu) Kobe@Troop Cafe
DJ: Towa Tei and moreVJ: GraphickersInfo: Troop Cafe078-321-3130URL : http://www.troopcafe.com
4/29(fri) Kyoto@World
DJ: Towa Tei, Kaoru Inoue (Seeds and Ground), DJ Musashi (Tycoon Graphics)and moreVJ: GraphickersInfo: World075-213-4119URL : http://www.world-kyoto.com
5/1(sun) Okayama@Club Jam
DJ: Towa Tei and moreInfo: Motion Tribe086-224-0564URL : http://www.clubjam.jp
5/2(mon) Hiroshima@Sacred Spirits (ex. Cafe Jamaica)
DJ: Towa Tei and moreInfo: Sacred Spirits082-240-0505
5/14(sat) Takamatsu@Mikayla
DJ: Towa Tei and more
Info: Mikayla087-811-5357URL : http://www.clubmikayla.com
5/21(sat) Sendai@Club Add
DJ: Towa Tei and more
Info: Club Add022-263-1185URL : http://www.clubadd.com
5/28(sat) Kagoshima@Caparvo Hall
DJ: Towa Tei, Tomoyuki Tanaka (Fantastic Plastic Machine) and more
Info: V.O.T.E099-226-3585URL : http://www.caparvo.co.jp
6/12(sun) Tokyo Ebisu@Liquidroom
DJ: Towa Tei and Special guests to be announced...
Info: Liquidroom03-5464-0800URL : http://www.liquidroom.net

Talk Show
5/6(fri) Tokyo Ginza@Apple Store
'LOOK' talk show with Hiro Sugiyama &Towa TeiInfo: http://www.apple.com/jp/retail/ginza

Speaking about events, I'm probably going to be able to go to Barcelona again this year <http://www.sonar.es> for “Atom™ vs Towa Tei” (June 17, 2005, planned to be at Sonar Park)! It's my fifth year in a row; it's a nice yearly custom.

Also, AOKI takamasa is going to be releasing a 12 inch EP soon (hopefully around the beginning of May, but likely to be delayed). It's going to be composed of two tracks from “Simply Funk” (superstrings 76 live ver & dancing queen ) and one new track. It's going to be a collaboration with ONEOWNER RECORDS <http://www.oneowner.to>. I'll be updating you with details at a later time.

Hey, it's spring! Peace!

p.s. The project with the Goethe-Institut Tokyo <http://www.goethe.de/os/tok/jpindex.htm> that I told you about two issues ago, is running late. Sorry...... I've got to catch up.“Remixed Emperor” 0710!

Isn’t It
Culture Gap
by SHiURA

I come across a lot of ‘gay jokes’ when I’m with my English friends. Gay, as in weak, or wimpy or stupid looking clothes and what not. However you define ‘gay’ , it may not be something we as Japanese people use as a joke too much.

Holding an umbrella is gay? In England, I hear that men are not too umbrella friendly. Besides the businessman, the royalty and the rich, the general public don’t think much of a light shower. If you were to use an umbrella, a genius of an equation “weak=like a girl=gay” seems to automatically calculate itself up. Obviously, not all people think that way, but that seems to be the train of thought that some people have in common. Think of it as….hardcore male-ism. As a fact, the idea of men acting like men, remains strong rooted in the core of the English culture, as the working class hero and black culture support the idea. Punk rockers and skaters, B-boys and thugs continue to pass the saga of street culture bravery as what men must live with.

I heard my friend once cracked up, witnessing a punk with an umbrella when he visited Japan. I guess you can’t hold an umbrella if you live by the code of the streets. Young kids coordinating fashionable pink, or purple into their outfits, accessories and trimmed eyebrows appear as gay in their eyes.

Fashion in Japan is big, big enough to gain attention from all around the world. As one of the reasons for this growth, we can say that the special ‘equation’, ‘fashionable=gay’ does not exist…a rather racial ‘equation’. Not only in England, but in many regions overseas, the word stylist and make-up artist almost act as a synonym for the word gay. Being too fashionable automatically makes you gay.

Whether it’s the lack of gay people coming out, or the lack of the ‘male’ way of thinking, perhaps the country this more open and free…I have no clue, but people do not react too much towards gayness.

For one thing, when you go overseas, turn your fashion knob down a few notches. Unless, that is, you are looking for some action…?

By the way, through the eyes of my English friends, the fashion style of the Japanese idol group S*AP…is all out gayness.

txt.Archives
“Novelty Design as a System; Novelty Design as Media”
by Jiro Ohashi

Many of the novelty items that are introduced in this book are distinct from the conventional tradition of handing out gifts [“soshina”]. There are alternative possibilities like novelty as a system, and novelty as a concept.

The supermarket near my house started a temporary bingo-service. You receive a card that has random dates printed on it, and they stamp the appropriate date on that card whenever you spend over 1000 yen in shopping. The rules are the same as bingo. You get points whenever a row is completed, whether vertical, horizontal, or diagonal. 50 points for one row, 100 points for two rows, and for three rows or more, a whopping 200 points.

This service was in effect for 24 days, so there were 24 dates to be stamped (the day in the center of the card was a “free space”). I would visit the supermarket as often as I could during this period, and I would have thoughts like “I can complete this row if I come tommorow” or “Oh no, I forgot to shop yesterday, so I better dismiss this row.” I would go whether it was raining or snowing. There was even a day when I looked at my watch and told myself “I can still make it!,” and made the decision to slide into the store to get stamped, just before closing time. Any purchase amounting to a total of 1000 yen or more is fine. It's a supermarket, so I was always able to find something I needed. There were many things that would come in useful, and even if I didn't need the item right away, I could keep it stored for later use. I think I may have shouted “bingoooo!” in joy, when I completed a row.

Because of the laziness that spawned in me around the middle of the period, there were a total of seven days that I didn't have stamped. I still went to the store on seventeen days, and I completed two rows, giving me 100 points. Not too bad, if I may say so myself. I was shopping for items to be used daily, so I couldn't spend exactly 1000 yen each day. I probably spent an average of something like 2000 yen per shopping day. There were seventeen shopping days, so that makes it a total of approximately 34000 yen. One point is equivalent to one yen, so that makes it...... what? only 100 yen? A measly 100 yen for 34000 yen spent shopping. In an age in which the mere sales tax for my shopping spree costs 1700 yen, I was awarded with a grand total of 100 yen. Dumb, dumb, dumb.

What do you think about the effect of this bingo card as a novelty? Of course, the card itself had no appeal or value as an item whatsoever, and the design certainly wasn't anything interesting to look at. This situation is something that I got myself into; the only thing I am able to say is that “it was all my fault.” [rest of text omitted]

[excerpt from “Novelty Design,” edited by DSB Project, published by Shoeisha, to be released on April 8]

“The Album” of Masterpiece (Number 3)
“The Press Sheet of The Album”
by Kurando Furuya

No one may have noticed it, but the art book paired with an CD album, released by?BEAMS was titled “ALBM” until the second issue, where it had been changed to “ALBUM”. Now for the third release, the title has gone through another transformation to “THE ALBUM”. We find an increase in the population of letters; from 4 to 5, to 8. Better yet, 5 issues were to be released, and now it has turned down a notch to 4. As the editor, nothing feels more unstable. It’s even more embarrassing that I have this feeling; the title may change again. Anyway, I must unveil our project.

> “THE ALBUM”
A simple question towards music magazines that only do reviews and interviews but claim that enjoying music on a deeper level is the reason of their existence. “THE ALBUM” thereby exists as an antithesis toward such rule abiding music magazines. Music and visual art cannot be separated, and the artist’s form of expression reaches beyond music; into various forms of visual art. The visual art plays the music, and the music illustrates the visual art…”THE ALBUM” aims towards a new type of music magazine. As the title speaks for itself, this book comes with a CD album, which is named after the “album” of the book and the “album” of the music. The music will consist of recordings by participating bands, noise, field recordings and conversations all mixed by Tomoya Gokida.

> Booklet participating artists : Shintaro Sakamoto (Yurayura Teikoku) / Shutoku Mukai (ZAZEN BOYS) / Keita Ishiguro (ex.ILLDOZER) / Hiroshi Iguchi (THE BOWY) / Mark Mothersbaugh (DEVO) / Yoko Kawamoto / Tomoya Gokida / Hideki Inaba

CD Album Sound Production : Tomoya Gokida CD Album Participating Artists : Keita Ishiguro (ex. Kimidori) / Hiroshi Iguchi / Tomoya Gokida / Mark Mothersbaugh (DEVO) / Shintaro Sakamoto (Yurayura Teikoku) / Shutoku Mukai (ZAZEN BOYS)

> Release : May 5, 2005 (scheduled)Format : Art Direction : Hiroshi Iguchi Editor : Kurando FuruyaURL : http://www.albm.org/ (under construction, scheduled to open in April)Δ

oneRESFEST World Tour

The world's greatest digital film festival, RESFEST, touring over 30 countries starting in New York, have begun accepting submissions for entry. This competition, which showcase and promote selected short films, music videos, design films and their creators, are in search of creative and innovative works to be submitted. Film categories are divided into 3 sections; short films, music videos and digital features. Usage of digital technology (DV, non-linear editing, effect tools, 3DCG etc.) in the production process is required for submission. Previous RESFEST participants are not qualified for submission. Submission forms can be downloaded and more information is posted at the RESFEST Japan Official Website.

>Date:
Early Deadline: Apr. 4 Entry Fee: 1,500yen
Final Deadline: May 9 Entry Fee: 2,000yen
Place: 3rd Fl. Harajuku R Bldg. 6-17-10 Jingumae, Shibuya-Ku, Tokyo
Info: 03-3406-8835
Fax: 03-3406-1636URL: http://www.resfest.jpHost: RESFEST Japan Tour Office

twoArt meets Media: Adventures in Perception

In its current undefined state, media art is extremely flexible. The "Art meets Media: Adventures in Perception" exhibition being held at the NTT InterCommunications Center [ICC], introduces art works of various styles of expression, ranging from interactive art, to works with strong social messages, utilizing various means of "media" such as visual images, computers, sound effectors, the internet and radio waves, while also looking back at the brief history of the art form. Another focus of this exhibition is upon the introduction of media art, selecting works that clearly define a certain form of "media" that it mainly uses. With keyword explanations, timelines and videos, the layout is designed to enhance comprehension of the exhibition. Events such as workshops, tours, lectures and symposium with the artists are also scheduled.

>Date: Jan. 21 (Fri.)~Mar. 21 (Mon. Holiday) 10AM-6PM (entries permitted until 5:30PM) Closed Mon. (unless holiday, in which case the next day will be closed), Feb. 13 (Sun) Closed

Events:
Feb. 22 (Tues.) ~ 27(Sun) Performance "Can You See Me Now?"
Feb. 26 (Sat.) 2PM- Artist talk
Mar. 5 (Sat.) 2PM- Lecture "Media Online"
Mar. 12 (Sat.) 2PM- Symposium "Media Art Now"
Mar. 13 (Sun.) 2PM-17PM Workshop "Invisible Fields" Tryouts (Rehearsal)
Place: Tokyo Opera City Tower 4th Fl. Gallery A, B, 5th Fl. Lobby, Entrance Lobby
3-20-2 Nishi-Shinjuku, Shinjuku-Ku, TokyoTicket : 800yen (600yen), College Students 600yen (450yen), Middle, Elementary Students 400yen (300yen) *Prices in ( ) are for groups of more than 15 persons
Participating Artists : Blast Theory, Masaki Fujihata, Shilpa Gupta, Rafael Lozano-Hemmer, Gebhard Sengmuller, Jeffrey Shaw, Ryoji Ikeda, Gregory Barsamian, Toshio Iwai, Akitugu Maebashi, moreInfo : 0120-144-199URL : http://www.ntticc.or.jp/index_j.html

threeLouis Vuitton: Universal Symbol of the Brand"

"Louis Vuitton : Universal Symbol of the Brand" exhibition will be held at the Mori Arts Center Gallery until Mar.21. Exhibited will be valuable antique trunks from the collection of the Louis Vuitton Museum in Asnieres, France, along with 19th century arts, crafts and painting from Japan and Europe. It will explore the principles of the famous symbol composed of the initials "L" and "V", the universal symbol known as the "Monogram Motif". Current collaborations with modern artists such as Takashi Murakami are also exhibited. Exhibition space is designed by the world renowned architect, Tadao Ando based on his theme, "My Travel with Louis Vuitton". A must see.

> Date: Jan. 21 (Fri.) ~ Mar. 21 (Mon.) 10AM-10PM Open Everyday

Place : Mori Arts Center Gallery (52nd Fl. Roppongi Hills Mori Tower)Price : 1,200yen (1,000yen), High/College Students : 1,000yen (800yen), 4yrs~Middle School Students : 500yen (300yen) *Prices in ( ) are advance saleObservation Deck Set Tickets : 1,800yen, High/College Students : 1,300yen, 4yrs~Middle School Students : 800yenInfo : 03-5777-8600 (HELLODIAL)URL : http://www.roppongihills.com

fourCQ Grand Prix Vol. 03

CQ, a community composed of "Small Window Entertainment", small screen visual images used on such as the keitai (cellular phone) is now accepting works for the "CQ Grand Prix Vol.03". Works that will exploit and bless the field of "Small Screen Images" are in high hopes of being submitted. Categories are divided into 2 parts. The first part is the Poetry Movie Category, in which works based on a Tanka by Koichi Masuno, or a Tanka submitted online to a BBS will be submitted. The second part is the Freestyle Category in which works pursuing the mere "fun" of "Small Window" will be evaluated. Both categories will require works within the time span of 60 seconds. CQ expresses 3 meanings; "See Q", seen in "QWindow" such as QVGA and QCIF, "Seek You" as in the search for new talent, and "Compact Quality". More details can be found on the official website.

>Date: Submitting Deadline: Feb. 28, 2005 Submission Requirements: No permits required. All submitted works required to be original. All aspects of the work, such as images, font types, music, and photography need to be cleared of all clearances by the submitter. Qualified works will be announced and posted on the website during the middle of March, 2005.

URL : http://cq.panasonic.jpInfo : 03-3406-8835Fax : 03-3406-1636 (Mon ~ Fri./10:00 ~18:00)Place : Nowonmedia Inc. "CQ Grand Prix Vol.03 Entry Submission" 150-0001 3rd Fl. R Bldg Harajuku 6-17-10 Jingumae Shibuya-Ku, Tokyo

Questions concerning submitting worksURL: http://cq.panasonic.jp/communication/qa/index.htmlHost: Panasonic CQ project

fivePublication "Novelty Design" Production in Process

The production of the design publication "DESIGNER'S SOURCE BOOK NOVELTY DESIGN" (Scheduled to be released on March from Shoueisha) is in due process by the SAL magazine editorial staff. This publication will pursue the comprehension of the current designing scene, by focusing on novelty goods. Introducing various novelty goods (and promotion tools) with high practical design, it will also put the spotlight on its designers, the printing company and include interviews with its clients. There will also be practical data on how to produce novelty goods. It is due to become a publication of quality design, also providing essential data acting as a practical publication. Further information about its contents will be reported and updated.

sixTomoki Kurokawa Solo Exhibition "VYNI BOMB NO/TE"

Illustrator / designer Tomoki Kurokawa, who's works have constantly blessed SAL magazine and SIM Magazine is dropping a solo exhibition at BEAMS T DAIKANYAMA, celebrating the release of his first publication "NO/TE", which is a massive collection of his even massive amount of works. He never left a canvas in process until it was finished. He kept on sticking only a fraction of pieces of publications he found outside. His pencil drawings were drawn without using an eraser, and he just kept on drawing for countless pieces until he was satisfied. The outcome of this unbelievable process lines the gallery. Opening reception will be held with the artist on the opening day. During the exhibition, his publication "NO/TE" and a t-shirt will be sold as a set.

>Date: Feb. 18 (Fri.) ~ Mar. 10 (Thurs.) 11:00AM-8:00PMPlace: BEAMS T DAIKANYAMA 19-6 Sarugakuchou, Shibuya, TokyoInfo: 03-5482-5952URL: http://www.beamst.com/Opening Reception: Feb. 18 (Fri.) 18:00-20:00

sevenGinza Apple Store: Koichiro Tsujikawa Live Talk

As the second guest to the monthly event "MacPower Presents GINZA NOW! 2005" produced by the magazine "MacPower", Koichiro Tsujikawa, film director responsible for such PV's as Cornelius ("AUDIOVISUALJAPAN"),UA, Supercar and commercials for Parco and Shiseido will step on stage. It will be in a live talk format alongside "MacPower" chief editor Koji Takahashi, on episodes concerning Tsujikawa's PV's and CM's while they will be shown on a big screen.

>Date: Feb. 18 (Fri.) 6:00PM-9:00PMPlace: Ginza Apple Store Theater 3rd Fl. Saegusa Bldg 3-5-12 Ginza Chuou-Ku, TokyoAdmission Fee: Free

Info : 03-5159-8200URL : http://www.apple.co.jp/retail/ginza/

eightSALmagazine Staff Wanted

At SALmagazine, we are looking for volunteer staff members to help in the process of production. Content such as translation, HTML production, graphic software operation, editorial assistance and data collecting, please send a resume (With e-mail address) that clearly states what you can do and what you wish to do. Please also include a text w around 800 words, discussing the theme, "What I want to do at SALmagazine and salmagazine.org". Please send by postal or e-mail. Those employed will be contacted.

>Please send to : 155-0033 SAL magazine Room 701 Daita West 3-41-8 Daita, Setagaya-Ku, Tokyo
Mail: info@salmagazine.orgΔ

The Underground History of Thought
"The End of the Week (and/or the Periphery) that we have Finally Reached"
by Shoe (Massage)

From around the end of the last century, we have been developing a tradition of dancing to a beat mixed along the axis of time by a DJ. We have overcome many hindrances, like conflicts between the musicians and DJs, and the barriers that emerge from divisions in genres. We, and the people before us, have danced down this very long path, kicking the floor with the BPM. There were times when we were intoxicated by the fantasy of a communitas, and there were times when we were torn apart by the jejune disunions that arose from differences in beats. We have been walking through numerous moments in which we were able to forget that individuals are separated by each other's bodies. Maybe all the dance floors that are scattered all over this planet are all a continuous realm connected by music, and maybe each one of these nights is a continuation of every other night.

By the way, have I told you about a club called Grassroots in Higashi-Kouenji, Tokyo? It's a really small venue that's located between Nakano and Kouenji, the main districts that embody the subculture based along the JR Chuou-Line: an area that's far from the centers of Tokyo club culture like Shibuya, Shinjuku, and Roppongi. It kind of seems like a place that has nothing to do with the kind of culture that gets featured in fashionable magazines. This club can be found on the second floor of a building on the corner of a street that's outside of the entertainment district, surrounded by grocery stores and laundromats. This club breaks down distinctions between everyday life and the ultramundane; it doesn't present any clear division of genres in the kind of music that's played; it chooses not to carry the burden or the vain pride of representing the underground scene. This is a club that acts as a shock absorber for tensions between cultures, and supported by an easygoingness that has been founded by people that have realized the meaninglessness of typical categorizations, it looks like it's groping every night for a genuine system of coexistence. It doesn't really matter how I describe the place with my petty words- the party just keeps going on. People who have heard many kinds of music, people who have witnessed many ways of life, people who have experienced many "2:30 in the mornings": they all gather here, have drinks, party, occasionally clean up other people's empty glasses, and create personal legends without any pretensions or hesitations, throughout the night. Here's an example of a scene at Grassroots: some people are continuously dancing in front of the DJ booth throwing out exultant shouts once in a while; right behind them are two people drinking hard cocktails and discussing about mohawks; at the sofa space at the rear of the venue, someone is raptly banging away at congas and djembes. It's a place that's reached after wandering through the complex jungle of culture and society. It seems like the daydream of David Mancuso, who was the organizer of a New York party in the 1970s called The Loft: it became the foundation for today's club culture, still continues to this day in this small club in Tokyo, without any impediments. Parties are continually held here by people who strive to actively define the age in which they exist in; these are the people who are tired of being categorized by the media into stereotypical groups, like "hippies," "yuppies, " "travelers, " "generation (whatever):" that sort.

Recently, I saw the new issue of a music magazine Groove, at a rental video store near my house. Its feature article was called "Come On, Let's Head to the Club!," and it was directed towards people who want to start going to clubs. The huge gap between the temperate vibe that can be felt at Grassroots, and the illusion-image of this elegant, voguish, flirty club culture induced a kind of vertigo inside me. Everything was manualized, with sections like "the everyday life of female DJs," "a discussion between clubber girls concerning the dorky boys that can be found at clubs," "how to dance at the club without looking strange." This commoditized club culture had no appeal to me whatsoever, and I felt like I was reading about some alien phenomenon that was occurring in another world. However, young attractive people dressing up elegantly and partying all night, with whispers and coquettish voices blending into the thundering music booming from the speakers, is one of the aspects of the appeal of club culture. I do enjoy the nights in Shinjuku, Shibuya, and Roppongi.

The other day, on the night that L?K?O and DJ Hikaru of Blast Head were spinning at Grassroots, a girl who was visiting Tokyo from Sapporo was dancing at the very front of the dance floor. She said "I thought Shibuya was a shit hole, but I'm loving Tokyo since I came to this club," and these words made an impression on me. As I end this text, I find that I'm longing for that feeling: the grooves of the record being amplified out through the speakers: emanating from the periphery of culture.

NEW HYPE RESEARCH
Against OLD HYPE BOMB FILE #008
"Pikadon Project": A Creative Movement that Transcends Narrow Anti-War Views and Sheds Light on Life
by Keita Fukasawa

So, what is Hype? Is it something we can see and hear? Often times, the works of many graphic designers who are regarded as being highly innovative seem to be uncomfortably similar to certain contemporary artists, and other designers. However, this is merely a case in which Hype exposes itself to us in an explicit, perceptible form. The true threat is in the way it penetrates our psyches through various media, without allowing us to recognize it for what it is.

News coverage on the war is a typical example. We hear news about the affairs in the Middle East everyday, but not so much news on war-topics relating to Japan. 2005 is the 60th anniversary of the end of World War II, but this is not being covered in the news so much. Coverage on the aid that the Japanese Self-Defense Force is providing for the victims of the Sumatra tsunami is heavily slanted towards "heartwarming episodes." When I make this kind of opinion, people reflexively evade the topic, because they don't like the "arbitrary logic" involved or the "smell of politics." I may sound like a fool, saying this all the time, but: this kind of reaction is also a product of Hype. It's the product of a self-defense mechanism that inevitably resides in the consciousness of every person that belongs to contemporary society. It's the disciplinary authority-entity that's embedded into the human being. Contemporary people have been educated to be unique and individualistic, but at the same time, we are supposed to be equal. This is a paradox that is especially conspicuous in Japanese society, and it results in a double-binding malady within each individual. This is why the media and the mass move in a direction that satisfies both of these two factors. Topics concerning the war are a prime example. Out of the people who saw "Fahrenheit 911" or some TV report on the war on Iraq and decided that they are against war and Bush, most of them do not do anything further. Their political activity often fades out after writing a couple of opinions in their blogs. By asserting their social views into society through means that have already been prepared by the media for that purpose, they feel satisfaction for having their very own convictions. More than Big Brother, we should fear our own self-absorption.

Criticizing the system of Hype is equal to searching for the possibility of an autonomous condition of life for the human being living in the contemporary media-society. In today's situation, shouting opposition against the war in the Middle East often brings undesirable results, like being perceived in a biased manner by others, through the stereotypical labels of "righteousness" and "ethics." This can effectively strip you of the political assertions that you intended to make in the first place. So then, it would be generally much more reasonable to fix your focus on a war that is etched into a history that we as Japanese cannot overlook. The difficult part is, how to rouse this kind of consciousness in others without setting off the trap that has been imprinted into everybody's minds which is the avoidance of issues concerning politics and war.

"Pikadon Project" <http://www.pikadon.jp> is the Hiroshima/Nagasaki version of the film project "Wasureteha Ikenai Monogatari [The Tale that Cannot be Forgotten]" <http://www.k2-d.co.jp/douwaindex01.html> by illustrator Seitaro Kuroda, who was inspired by Akiyuki Nosaka's novel "Sensou Douwa-shu [The Collection of Children's Tales About War]." "Pikadon Project" is a movement that is going to be held this year, involving various events and a compilation CD by sympathizing musicians. Seitaro Kuroda has called upon various participants: trumpet player Toshinori Kondo, who has also participated in "Wasureteha Ikenai Monogatari," will be one of the central members, and the author Nori Nakagami will be writing the original story for the movie. The focus in not on the horror and cruelty of war, which is the main perspective that has been embedded into our minds, but it is rather on life, and the positive energy that human beings can have. It is about the things that emerge through the projection of life, like the oleander flower that proudly blossoms out of the soil that supposedly wasn't going to spawn even a single weed for a hundred years after the atomic blast. Sixty years ago, the A-bomb was developed with the recognition that it would be the doomsday weapon which would decide the fate of humanity. By being used in actual battle over Hiroshima and Nagasaki, it generated much political/military force as deterrence, and decidedly constructed the map of world history through conflicts revolving around political multipolarization and world hegemony. This word "Pikadon [Pika is the onomatopoeia of a flash, and Don is of an explosion]" doesn't point towards the actual weapon, nor the catastrophe that should be condemned, but the origin of a wisdom that should be passed down the generations of human kind. It is the brilliant memory of life that all of us who have lived through history after the war hold within ourselves, and an influence in the origin of today's world.

How to diffuse your ideas through sympathy, without being entangled in the cobweb of Hype of our contemporary world. I would like everyone, especially those who categorize themselves as "artists" or "creators," to think about this. Contemplate what the word "creator" points to. To those who continue to proclaim themselves as creators without facing the problems I have written about above: I am going to bestow upon you the honorable title of "Hype-Poor-Media-Creator." Accept it with gratitude.

NEWS-29
Nik, the writer of "NEWS-29," is occupied with work, unfortunately. This month, we're going to deliver information relating to him and his label.
TOWA TEI's New Album "Flash"

Towa Tei's latest album "Flash," his first in six years, is going to be released on April 2.

Over the years, Tei has been working with many interesting artists no matter their nationality or genre. He has done production and remixes for musicians like Ryuichi Sakamoto, Bjork, m-flo, Mika Nakajima, Tokio, and Aya Ueto, and art direction for the CD sleeves of the likes of YMO, Haruomi Hosono, and Clammbon. In 2002, he released his second album "Towa Tei" and the remix album "Re:Towa Tei" by his alias Sweet Robots Against the Machine (SRATM). He is active all over the world as a DJ, and his domestic tour "Motivation" has received much acclaim. A compilation album by the same name was also released, and on March 17, 2004, he released a second compilation album, "Motivation DRIVING SWEETS." Recently, he has been participating in television commercials for hit products such as AU Infobar, Daikin and Olympus M:Robe, as a composer and music producer. "Flash" is going to be released on April 2 in Japan, earlier than overseas markets, and on March 28, Tei's first visual book "Look" will be on sale. Release overseas for "Flash" will be sometime in Summer of 2005. This is his fourth solo album using his real name Towa Tei, and it's his first since "Last Century Modern," which was released six years ago in 1999. Ten tracks will be included in the album, including the single "Sometime Samurai" featuring Kylie Minogue (vocals) and Chisato Moritaka (drums), and "Hunter Green," the track from the television commercial airing right now for the Olympus M:Robe. The artwork for the sleeve of the album is going to be done by Barry McGee, who receives much attention from the graffiti scene and the contemporary art scene. There are also many other amazing participants involved.

>Towa Tei's New Album "FLASH". to be released on April 2, 2005. 3000yen (with tax). V2CP 210.
[TRACKLIST]
MILKYWAY feat. Ryuichi Sakamoto & Yukalicious
SOMETIME SAMURAI feat. Kylie Minogue
DIFFERENT NU NU
MELODY feat. Byron Stingily
RISK A MOMENT feat. Luomo
BIANCO feat. Arto Lindsay
RED CARP JUMBO
CONGO feat. Atom TM
HUNTER GREEN
MY SHARONA feat. Tycoon Tosh & Buffalo Daughter

Isn't it
"EWOK 5MH EXHIBITION"
by SHiURA

On Feb.8th, EWOK 5MH's exhibition raised its curtain at DEPOT in Nakameguro. <depot_ewok_flyer.jpg>

EWOK 5MH is an artist who walks on the strange line between the hardness of graffiti and the cute atmosphere, somewhat similar to that of an animation. His style must come from the environment of which he grew up in. He started graffiti in 1990, and moved to Brooklyn in 96 where he continued to make a mark on the graffiti scene while he studied animation in college. He battled the ROCK STEADY CREW night after night, then left his graffiti in the city. Surely enough, the police have caught up with him a few times. He found a stream of light in graffiti and decided to purse that road instead of joining gangs or pushing drugs. With such a resume, his unique style of colors and collages is something that cannot be duplicated by someone from Japan. <ewok.jpg>

A day after the opening on Feb 9th, a "EWOK 5MH EXHIBITION AFTER PARTY" was held at the UNIT saloon in Daikanyama. Guest DJs included Takagi Kan <takagi.jpg>, SKATE THING, LATIN RAS KAZ, SHU-G (HOME BASS RECORDS) and basically shook the floor. EWOK ended up busting a few moves himself. He cracked a head spin without a helmet. <ewok2.jpg> For live painting, Kidney (NEW STENCH) <Kidney.jpg>. After he was done with breaking, EWOK joined in on the painting and an extravagant collaboration piece was what came out<Painting.jpg>. 2 days of genre twisting mayhem.

>EWOK 5MH Profile
Taking part in such art shows as "clash of the titans", "the magnificent 7", "the break in", "ewok and totem2", "20inch dunny show", an existence that cannot be left out of the line up of graffiti artists representing NY, alongside COPE 2, FUTURA, TIKED, MISTE, BATES, GHOST, ESPO, NYC LASE, CES, DAZE and the TATS CREW. Multi-talented artist, blessing various brands and record covers such as DEF JUX, RAWKUS, FAT BEATS, 5 BOROUGH NYC with his work. He has recently been involved in video games and toy figures "KIDROBOT" and "TOY2R". Scheduled to be released is a collaboration shoe with DKNY. Receiving high acclaim in various graffiti art books since 1995.

photo: (C)Natsu Tanimoto

txt.Archives
"Prototype of the Plan for SAL magazine Vol.14: "Advertising" Issue"
by Jiro Ohashi

<A Request for Your Participation in SAL magazine>

The theme of SAL magazine vol. 14, the first issue this year, is going to be advertisements. This is a theme that we have been intending to realize ever since the very beginning, when we just started to create this magazine based on the medium of graphic design.

SAL magazine began as a publication in which we would present the works of artists who we felt an interest and respect towards. This concept still stands today. We started out with a B4 scale, but now we print our content onto more expanded sizes. The path we have taken through publishing the issues of SAL magazine was at the same time the process of searching for a grammar of the graphic-based free magazine in general.

When you look through the progressive regions of graphic design, you will surely discover the works of some of the most experimental, adventurous, talented artists in the field. This area comes extremely close to the domain of "art."

On the other hand, we have advertisements, which emerge from conflicts with the media and have massive public effect. This realm can seem like something completely different from progressive graphic design, but actually, they are two sides of the same coin.

Advertisements play a significant role as an expression of one of graphic design's forms of sublimation. However, since advertisements are directed towards the mass, some people scoff them as being "shallow," "conservative," "safe," and "conformist." There is often some jealousy and envy involved in this. The budget, manpower, ideas, and experience (but also the restrictions) that go into the creation of these works are on a totally different level than that of the self-works of individual artists. Introducing these visual works on the pages of SAL magazine is only natural.

So, this is the background as to why we have chosen advertisements to be the theme of SAL magazine vol.14.
We wish to present as integrated projects, these works of graphic art which were not created by individual designers, but by a whole team of people including the client, the creative director, the art director, the photographer, the illustrator, and the graphic designer.

It should be noted that the actual quality of the graphics weren't the only thing we focused on. We took into account the contexts behind these advertisements, and the full sensations that they bring to us. This issue of SAL magazine is knitted as a sort of visual sampler or graphic report, involving the aspect of economic activity. It is going to be a pile of visual works that are neither art nor design, but manifestations of real situations that transcend the printed medium.

This message is not a request for "running your advertisements" in our magazine.
This is a request for your participation (Providing us with your advertisement data and the permission to print them).
(SAL magazine)

-------------------------------------------------------------

SAL magazine vol.14 "Advertising" issue will be released towards the end of February. The issue following right after it is also.........
http://www.elesal.com/salmgz/distributor.html

The ALBM of Musical Masterpieces (Number 2)
"Unfortunately, I was never unfortunate."
by Kurando Furuya (SIM)

I rented a DVD titled "Iden & Titi", a Japanese film based on the story by Jun Miura. A line that was spoken by the main character stuck with me.

"Being born in middle class society, I was neither delinquent nor an honor roll student. I have been living an ordinary life. This is why I do not feel the urge to get out and travel like you (Bob Dylan), and is also my complexity towards rock. There is untruth, a lie in what I write in a song. Unfortunately, I was never unfortunate."

There must be many rock fans that sympathize with this line. During the British pop movement, when Blur, out of the middle-class was defeated by the working-class Oasis in a sales rivalry, it was a moment in time when one had to ask; are people who have not faced poverty inferior as expressionists?

I went to see Mark Mothersbaugh from DEVO<album_01.jpg>, who is scheduled to release an album + art book titled "ALBUM" in May, for some art work <album_02.jpg><album_03.jpg>and an interview. During the interview he stated,

"Speaking about my roots in creativity, I was born real nearsighted, and it may have been because we were 5 brothers, but my parents didn't notice that until I was 7. During those seven years, I had a very strange way of connecting with the physical world. I saw the world as a blurred mish mash of colors, and I thought that that was the way everyone else saw the world. I still remember what I saw when I was 7 and a half, after my visit to the oculist with my father, where I finally had my eyes examined. My first glance at the clouds, the birds, the sun, the roof over my house and the trees made me real happy From then on I drew everything I saw, and I knew that I wanted to stay as an artist all my life."

Not only am I really fond of DEVO's music, I am also into Mark's art direction, and this episode struck my heart. DEVO's aesthetic sense comes from Mark's childhood handicap. DEVO was formed, not from social status but from another aspect of life's struggles. In the world of rock, a world where coming up from the ghetto or the working class is a given, it may be Mark who has struggled up to the light in the coolest way.

In Mark's art book, we are introduced to over 100 works by DEVO and Mark, and it is quite interesting to appreciate them by knowing that the works are an outcome of what Mark didn't have in his childhood days, but continued to pursue them.Δ

one“NOVELTY DESIGN” on sale

The book that editorial department of SAL magazine had took part in editing, “Novelty Design,” was published on April 8. This book is worked up as enterprise novelty product, first attempt in the category of practical design publications, and is composed with many novelties and interviews brought together with the help of various designers and enterprises. In those novelties and interviews you can peep into the nature of design and ideas that are loaded in there, careful calculations against the promotion-effects, and thoughts toward strategies. Also, a set of 5 blank CD-Rs, produced by SAL magazine’s art director Inaba Hideki as novelty for the novelty book, are now being distributed in the order of purchase when you buy this book at large-scale bookstore, such as Aoyama Book Center, or at Amazon. The main store of Aoyama Book Center, situated in Roppongi, is displaying the goodies that were printed in this book until April 22.

>Participants (Designers & Enterprises)

Hiroshi Itoh (Groove Visions) / Masaru Ishiura (TGB design.) / Hideaki Komiyama (TGB design.) / Sekiyuriwo (SALVIA) / Takuya Oonuki / Naohiro Ukawa / Naoki Satoh (ASYL design) / Atomi / Tenprint / GRAPH / Shinchosha (Yonda? campaign) / Beams / Tower Records(NMNL) / Nike Japan / Tycoon Graphics (TYGUN) / Shiseido (MAJOLICA MAJORCA)

>DESIGNER’S SOURCE BOOK “Novelty Design”

Release: April 8, 2005 Price: 2,500yen (w/tax) Edit: DSB PROJECT Format: B5, 162 pages ISBN: 4798108421 Publication: Shoueisha

twoCANADA vs JAPAN LIVE PAINTING EXPO

Live painting battles between Canada and Japan are being held at Ai-Chikyu Expo from April 13. 2 artists from Canada who take action in diverse fields and 9 painters from Japan battles 1 on 1 in 45 minutes. Kiyoshi Kuroda, who is the man in the news recently by producing the splendid wall graphic at Shinjuku Southern Beat project, Hikaru Suzuki, who’s original style and world view is worldly famous, Must One, who is well known with his “Neko-man” and other promising artists will be painting.

>Artists
Sun Pearl / Michael Nichol Yugranurse / Kiyoshi Kuroda / Michikuro (DYNAMO/MHz) / D[di:](DYNAMO/MHz) / Wet Side a.k.a. Baiyon (Brain Escape Rec.) / Hikaru Suzuki (wordpublic) / kami / yamao (DOPPEL) / monmon (DOPPLE) / Must One (ISENEEHIHINEE)

>Date : 2005, April 13 ~ April 20(15:30-), May 8 ~ May 15(14:30-) Place : EXPO 2005 Aichi, Japan - Japan-Canada Pavilion (2005 Aichi-EXPO Global · Common 2 Canada House Outdoor Site Stage) Promoter : Majeskyuru Plan/Director : Oh Ye! Canada, Canada Government house

threeSUPER CREATORS’ ARENA TWO

Flea market held by the creators who represent the scenes in Art, Fashion, Music, and Design opens again for the second time at ROPPONGI HILLS. About 50 creators participate. This event is entrance free and can shop with one’s free will and also exhibits creators’ own treasures that are “cannot be sold” and “treasures which was never allowed to be brought to the public.” DJ plays, live paintings, auctions will be held also. Bringing you a lively place for you to negotiate face to face with creators on price.

>Creators
Gugi Akiyama / Taku Anekawa / Hajime Anzai / Yasushi Ide / Eri Utuki + Wisut Ponnimt / Jiro Ohashi / Shinko Okuhara / Office Samasama / Nanpei Kaneko / Miho Kinomura / Takeshi Kumagai / Masataka Kurashina / Kiyoshi Kuroda / Yuhi Komiyama / Miu Sakamoto / Yutanpo Shirane / Dainippon Type Organization / Koji Takamiya / Double Six / Yukinori Dehara / Devil Robots / Takayuki Teramoto / Tokyo Alice / Noboru Tomizawa / Mai Ninomiya / Nagi Noda + Uchu Country / Maki Nomiya / Koji Nomura / Yuka Hamano / Kao. Hirao / Itaru Hirama / Akiko Hiramatsu / Nobuto Fukutsu + flask / Michael Lau / Mizuki Madoka / Mikan / Renji Murata / Michihiko Yanai / Masako Yamasaki /Uichi Yamamoto / Masayuki Yui / Jun Yokota / ATAQUE / D[di:] / Ed TSUWAKI / go relax E more / Keitarrow / My Sweet Museum / SUNDAY-VISION / TRITON GRAPHICS

>Date: 2005, April 28 (Thurs)~29 (Fri) 11:00-17:00Place : Roppongi Hills ArenaEntrance free Info : 03-6406-6611

fourSAL Yogaku Mania “Background Image T-shirt series” Vol. 1

Series 1 of “background image t-shirt series” by the mobile site “SAL Yougaku Mania,” which SAL magazine also takes part in production of contents, are on sale by the name of KasekiciderΞ version t-shirts. 2types of shirts are on sale this time, in which they are t-shirts that have KasekiciderΞ’s original character “Baguton” largely printed on the chest and polo shirts that have small embroidered badge of Baguton on the chest. And also Shimao Maho and Dainippon Type Organization version are coming out soon! They’ll be sold on the website of BEAMS T from April 14 (Thurs). Further more, there is a small tag on these t-shirts which are made with printed texts that refers with “SAL Yougaku Mania,” and also back numbers that can only be read in “SAL Yougaku Mania,” such as columns and recommends. This small tag has 14 variations and 1 type is distributed per 1 related shop.

>Bakuton t-shirt Price : 5,040yen Size : XS / S / M / L Color : White

>Bakuton polo shirt Price : 6,090yen size : M / L Color : White / Navy

fiveTODD JORDAN First Time Visit to Japan Solo Exhibition

First time to visit Japan solo exhibition by a professional skater and a photographer, TODD JORDAN from NY is happening at Nakameguro, DEPOT. TODD JORDAN lives in NY and is a professional skater and a photographer, being sponsored by “NIKE and CREATION SKATEBOARD” and “Supreme TEAM.” As a freelance photographer, he is well known as he offers photographs mostly to magazines such as “VICE”, TOKION”, MASS APPEAL”, “LODOWN”, SKATEBOARD MAG”, “TRANSWORLD SKATEBOARDING”, and so on. In NY, he participates in various art shows such as “Point and Shoot”, “Photographs of love and Desire”, “MagazineArt Show.” As you can see from the sponsors for this exhibition, in which they are “NIKE” and “aNYthing,” he is highly thought for the currently attractive photographer in NY.

Photographs exhibited at DEPOT are all recently developed. The objects in the photographs that are exhibited for this exhibition are mostly people who surround him, such as his ex-team mates from “ZOO YORK” and his friends from his life in NY. It is expected to exhibit installation using his credential TODD JORDAN skateboard. And also, DQM X TODD JORDAN model skateboard (limit of 50), aNYthing X TODD JORDAN exhibition limited edition t-shirts, 4.T.W. X TODD JORDAN X BEAMS T exhibition limited edition t-shirt will be sold at the DEPOT and BEAMS T. Further more, celebrating Todd Jordan’s arrival to Japan, Daikanyama UNIT Saloon will be throwing down a night before exhibition party called “THE TODD JORDAN EXHIBITION PARTY.”

>Date : 2005, May 5 ~ May 22Place : Daikanyama UNIT Saloon B3F The House Bill, 1-34-17, Ebisu-nishi, Shibuya, Tokyo Entrance : \700 DJs : Toshio Nakanishi (PLASTIC SEX) / Kan Takagi / SKATE THING / DJ QUIETSTORM / WHITEFOLKS / SHU-G(HOME BASS RECORDS) / TAKAO(NICO/VIOLENT GRIND / KURO(VIOLENT GRIND) / YUICHIRO(VIOLENT GRIND / KAMABAN) / TOYO-P(JVC FORCE TYO) / BAMBOO BOY(JVC FORCE TYO) Live : COM. A(ROMZ) / ISHIURA(TGBdesign.) / THE LP VJ&Art : DADA KINGS Live Painting : Sakamaki Toshinori a.k.a. Sense. vs NEWSTENCH DANCERS : JVC DOLLZ SPONSORS : NIKE SB / DZM / 4.T.W. / frank151 / freshness / aNYthing / BEAMS TΔ

one"HELLO GAS ART" Exhibition

The exhibition "HELLO GAS ART" is going to be held at Sign Gallery. There, selected works from "Jumble," an exhibition of fashion and art that was held in October 2004 at Claska Gallery, will be displayed and sold. The items range from specially crafted pieces to posters, and it will be possible to buy the works produced by the artists selected by GAS.

Date: Jan. 17, 2005 (Mon.) to Jan. 29 (Sat.) 10:00 to 27:00 (Mon. to Fri.) / 11:00 to 27:00 (Sat., Sun., holidays) > Location: Sign Gallery, 2-7-18 Yamazaki Bldg. B1F, Kita-Aoyama, Minato-ku, Tokyo > Tel: 03-5474-5040 (Sign) > URL: http://www.transit-web.com/f_set/f_shop_s.html (Sign), http://www.hellogas.com (GAS)

twoDaido Moriyama + Nobuyoshi Araki “Moriyama-Shinjuku-Araki”

Nobuyoshi Araki and Daido Moriyama have been rivals of photography ever since the 80’s, when they were capturing scenes displaying demented sexuality in Shinjuku. “Moriyama-Shinjuku-Araki” is a photography exhibition that deals with the area of Shinjuku as seen by these two photographers. It is being held at Opera City Art Gallery. Along with this exhibition, a collaborative photo album examining Shinjuku is going to be published with the same name as the exhibition. Also, an installation exhibition named “Contact-Shinjuku-Trimming” is simultaneously being held at the artbook shop Nadiff. This installation is composed of things like Moriyama’s contact sheets and Araki’s film positives, all collected from the numerous rolls of film that were used for photography sessions in Shinjuku last summer for “Moriyama-Shinjuku-Araki.” A dialogue session between the two photographers will also be held here. It is going to be interesting to see what Shinjuku looks like through these two unparalleled sets of eyes.

>“Moriyama-Shinjuku-Araki”
Date: Jan. 15, 2005 (Sat.) to Mar. 21 (Mon., holiday) / 12:00 to 20:00 (Tue. to Thur., Sun., holidays), 12:00 to 21:00 (Fri., Sat.), Closed on Mondays. > Location: Tokyo Opera City Art Gallery, 3-20-2 Nishi-Shinjuku Shinjuku-ku, Tokyo > Entrance fee: standard: 1000yen, college/high school students: 800yen, middle/elementary school students: 600yen > URL: http://www.operacity.jp/ag/

>Photo Album “Moriyama-Shinjuku-Araki”
Release Date: Jan. 20, 2005 > Photographers: Daido Moriyama, Nobuyoshi Araki > Text (in English and Japanese): Daido Moriyama and Nobuyoshi Araki (dialogue), Elve Chandes, Gerome Sans, Hiromi Kitazawa, Akira Horimoto > Format: A4 size, 304 pages > ISBN: 4582277578, Publisher: Heibonsha Limited

> “Contact-Shinjuku-Trimming”
Date: Jan. 20, 2005 (Thur.) to Mar. 6 (Sun.) / 11:00 to 20:00 > Location: Nadiff, Casorel Harajuku B1, 4-9-8 Jinguu, Shibuya-ku, Tokyo > Phone: 03-3403-8814 / Fax: 03-3403-8819 > URL: http://www.nadiff.com/

>Gallery Talk Session
Jan. 30, 2005 (Sun.), 16:00 - Daido Moriyama
Feb. 5, 2005 (Sat.), 18:00 – Nobuyoshi Araki

threeArchilab: "New Experiments in Architecture, Art and the City, 1950-2005”

Archilab: "New Experiments in Architecture, Art and the City, 1950-2005” is an exhibition being held at Mori Art Museum. It examines for the first time ever in Japan those radical and visionary approaches to building design and urban planning that, since World War II, have changed the way we think about and use the city. Organized by the Mori Art Museum and the FRAC Centre, Orléans, Archilab features highlights from the collections of the FRAC Centre and the Centre Pompidou, Paris. It is the first architecture exhibition held at Mori Art Museum, and its also one of the largest architecture exhibitions ever held in Japan. Archilab was originally the name of an international conference that is held annually in Orléans, France, holding discussions concerning the theme “utopia and experiments.” This works displayed in this exhibition mainly come from the vast collection of models and drawings that have accumulated from this annual conference. The reference material are shown in four sections corresponding loosely to different decades and concerns: The Pulsating City, The Endless City, The Deconstructed City, and The Contextualized City. Through features of various theories and works, this exhibition will depict the lithe future of architecture. In more than 220 projects by 90 architects and artists, Archilab revisits urban utopias from the 1950s, analyzes deconstructionist works from the 1980s, addresses the influence of new technology in the 1990s and reflects on the future direction of the current avant-garde.

> Date: Dec. 21, 2004 (Tue.) to Mar. 13, 2005 (Sun.) / 10:00 to 22:00 (Mon., Wed., Thur.) / 10:00 to 24:00 (Fri. to Sun., days preceding holidays) / 10:00 to 17:00 (Tue.) / open everyday during the period / admission stops 30 minutes before closing. > Location: Mori Art Museum, Roppongi Hills Mori Tower, 53rd floor > Admission Fees (includes fee for observation deck): standard: 1500yen, college/high school students: 1000yen, children (age four to middle school): 500yen > URL: http://www.mori.art.museum/contents/archilab/

fourRelease of “The Loved One”

With their original sounds mixing heavy metal and funk from a new-wave perspective, INXS is an Australian band that has delivered hit songs all around the world. Michael Hutchence was the lead singer of the band, and was expected by some to become the next Mick Jagger, until he ended his life through his own hands. “The Loved One” is a documentary of this short-lived musician. It includes rare footage, and interviews with people like the former band members, Hutchence’s ex-partner Kylie Minogue, Hutchence’s father, his manager, and Australian electronica star Olly Olsen. The documentary film is going to be released on Feb. 25 from Now On Media. Its going to be comprised of a CD and a DVD, which will include previously unreleased songs.

>Release Date: Feb. 25, 2005 (Fri.) > Format: feature: 57 mins. / special footage: 29 mins. / attached CD containing 6 songs > Serial Code: NODD 00035 > Price: 3990 yen (tax included) > Released and Distributed by: Now On Media corp. > URL: http://www.nowondvd.net/products/lovedone/

fiveRelease of Lemon Jelly’s Second Album, “’64 - ‘95”

Lemon jelly is a new-generation creative unit run by Nick Franglen and Fred Deakin. Franglen is a studio producer who works with artists like Bjork and Blur, and he is also one of England’s finest garden designers. Deakin is a DJ, runs Airside, and creates Lemon Jelly’s videos. “Lost Horizons,” their first album released in 2002, was a huge success, which made it into the top 10 of record charts in Britain. In Japan, it made its way into top 10 charts in record stores. The unit attracted 10,000 people at Fuji Rock Festival, even though their first album wasn’t released yet in Japan at the time. They have recently released a new album titled “’64 – ’95.” It includes 10 tracks based on motifs from various inspirational musical and visual works from between 1964 and 1995. Each track has its own video, and they compose a single movie when combined. The album seems like one which has quite a few suprises.

> Release Date: Jan. 13, 2005 > Format : CD (DVD containing videos attached) > Serial Code: SRCP 381 (first edition) SRCP 383 (standard edition) > Price: 3500yen (including tax, first edition) / 2520yen (including tax, standard edition) > Record label: XL Recordings > URL: http://www.sonymusic.co.jp/Music/International/Arch/SR/LemonJelly/Δ