9/20 UpDate
What is racism? What is the genuine equality? As you all people who have a slight good common sense know, the United States is not a country that self-expresses freedom, but a homicidal nation that is abounded with speech blockade, racism, and every single humanly collapse, in which present time take pride in history. The social security system already had collapsed and must be prosperous in order to get proper medical treatment. Those sacred white descendents, who have given vested interests, have intentionally took every possible future of black civilization by avoiding them from employment and education, sending them to ghettos, and making them as drug addicts and poor.
I know that I, who’s writing like this, am emotional, but I don’t know why I’m emotional to tragedy that’s happening to unfamiliar people who live far away from where I live. I am a man who has comfortably grown up in a developed country and has freedom more than enough. It can’t be helped to be said that this is an easy going guy’s easy going agony. I apologize for that. But, I strongly fear about being silent, in which will make a state of constancy. I really fear about the loquacious ignorance that will deny all the clear problems. Therefore, using this kind of opportunity, I am going to arrogantly bring word as a man who’s trying to get their voice heard.
On August 29, the biggest hurricane in the U.S. history, “Katrina,” sunk 80% of the city of New Orleans, Louisiana. There haven’t been specific number yet but approximately “few thousand” people died. As the days pass by, those who couldn’t get out from nursing homes and hospitals and those weren’t able to do anything are being found. New Orleans is placed below zero meter sea level and since it’s foundation in 1714, it has been exposed to water disasters. In addition, over last few decades, coastal area of southern Louisiana had lost 35 to 40 square meters of its land because of subsidence. The wetland not only filtrate the contaminant but also absorb greens of sea and functions as a levee for the hurricane like this one. There used to be a warm current river about 140 to 200 miles between the city of New Orleans and the Gulf of Mexico, but now it diminished to 30 miles in some places. There shouldn’t have been difficulty in imagining how much damage it will make when the hurricane like this one hit New Orleans. Giving financial deficiency as an excuse (no dah, sending 1/3 of National Guard to Iraq, of course they lack budget and hands), the budget for flood control related got a 71 million dollars cutback and the levee that was indicated as old for long time had broke down. It looks somewhat similar to the miserable incident that happened to World Trade Center buildings, in which it happened although warning was proposed but there weren’t much attention paid. People say it’s a natural disaster. However, there are unnatural things you can find easily. Would this gruesome situation happen to a state where most of the citizens are white people?
The population of New Orleans is 5 million and 70% of it is African American. Most of them were living in the area where it was weak to water disasters. Those who didn’t own a car and weren’t able to get inside Super Dome, in which was designated as shelter, had no other way but to stay in their homes. Scenery of people come and go on the streets after the disaster was not a view of a developed country’s but more of a third world country’s tragic area. Soldiers were given permission to shoot the black people, the “mob,” who “loot” from supermarkets where the owner is gone. A young black calling towards the camera, “Where in the world is George Bush?” It’s too tragic of a situation just to shrug our shoulders from looking at the inevitability of the policy that the United States took til now. When the hurricane attacked Louisiana, the president was taking the usual vacation at his villa in Texas. Because of the clumsy correspondence of the government to the hurricane Katrina, the approval rate for Bush went down to 38%, in which was the worst of all. And this means, there’s still 80 million people who approves him as president. Where is the evaluation axis of the United States’ leader for them? What is the country called the United States of America for them? For what reason do they keep their identity as the same American under the country called the U.S.A.? For how long does this situation of powerlessness of politics, inertia to entrust oneself to the peacefulness of everyday, and all the citizen are getting fraud by the government continue?
In the concert for hurricane relief broadcasted in NBC telethon, the super star MC, Kanye West, stood beside Mike Myers and put him self away from the prepared script for him and said the next things. It was broadcasted live and this footage was watched by many American citizens. Well, you know, it’s definitely a TV nation.
“I hate the way they portray us in the media. You see a black family and they say we are looting, you see a white family and they say they are looking for food. And, you know, its been five days because most of the people are black ... We already realize a lot of the people that could help are at war right now, fighting another way. And now they've given them permission to go down and shoot us.”
With a bit of bewilderment in his face, Mike Myers a.k.a. the Goldmember said, “And subtle but even many ways more profound and devastating is the lasting damage to the survivor’s will to rebuilt and remain in the area. The destruction and spirits of the people of southern Louisiana and Mississippi may not been the most tragic loss of all.” Right after this scriptural comment, Kanye West said the following thing staring at the camera,
“George Bush doesn't care about black people.”
The next moment he said this, Mike Myers looks at Kanye with an indescribable look. The camera rapidly cuts in to Chris Tucker’s studio shot and the program continued on like nothing happened. The concert for hurricane relief was re-broadcasted over and over again, but the scene of what he said was never broadcasted again, forever.
http://www.big-boys.com/articles/kanye.html
It’ll be over by the time this article will be updated, but a farce. It’s an act of ostensible kindness. What a joke. Well, this is about the general election. Candidates who run around, raise their voices, and agitate by putting up their fists. There are leaders of parties who are debating widely in the debating program in television. How limitless mediocrity this is. Can’t find much difference in each of their claims. Can’t comprehend what’s the “good society” when they mention about “they want to make a good society,” in which most of them speaks about it. At the point when the vision of result after “made good” is not describing more than the picture of “good society,” there aren’t much difference in all.
The cause of this is, directly saying, is because of their “popularity aim.” Well, truly, nowadays the grand theory has been destructed and clear ideology can’t get along, so after raising radical things, it’ll only give “danger” “fabricated” label and won’t become popular. Therefore, they identically raise words that somehow receive popularity and they appeal by pretending that they are fighting against something that they victimize. But when they mention something about abduction or diplomatic problems or some flamboyant things, they give an evasive reply with something that won’t cause unnecessary harsh. This is because they want popularity without exception. In short, there lacks a radical centripetal force that is originally included in the word, “making society good.” Now, the politics moves on from principle faith to a new era of popularity aim.
And the other thing is, not only restricting to this instance, this can be said in the fundamental level in this contemporary society. Frankly, “there’s no romance!!!”
Romance. What a pathetic comment. Maybe read too much “Karate Baka Ichidai.” However, romance is the bright future vision that we must face, centripetal force of society, and people’s moral faith. All the people leaped their heart for romance, looked for better future, and had tried to break into the future with their own hand by concentrating their efforts in social reformation. Conversely saying, present is the era of no romance. At the point when clear single lined image of future had dispersed, romance dispelled from cooperate fantasy to personal petit-happiness. Present youngsters are in the generation after social romance as they are borne. There is no romance in the world that NEET people imagine. However, there’s no romance in the situation of those who work hard and declare to start business, in which what they aim for is noodle restaurant.
Society, history, and culture. The problem of whether or not there’s romance in all is actually depended on each and everyone’s “way of life.” Especially boys. In current absentness of “Shonen Jump” kind of growth, in which strive holding a conflict of putting oneself as someone and someday exceed him somehow, when inquired about “whom you admire,” most of the answers were “daddy.” It’s realistic in a good way, but cozy. The loss of romance drops its shadow on idea principle and social consciousness to culture and nearby fashion level. Fashion used to symbolize the belief that heads toward doctrine argument, in which it used to be enshrined, and the way of life, but as it lost the romantic factor, it became just like model market kinda street fashion magazine, in which is a state of flimsy greenhorn that destroys fresh stuff by using the same shit every time.
In this October 1, 2005, the concept shop that will open at Harajuku in Tokyo, “TOKYO HIPSTERS CLUB” (a.k.a. T.H.C.), is certainly seems to rejuvenate once again the spirit concerning to fashion/culture. Original items made by Taishi Nobukuni and Lutz, and not only clothes but also art books that is filled with ancient counter culture’s breath, sounds by Punk Rock’s prestige label, SKYDOG (in T.H.C. opening compilation CD, Iggy Pop, Patti Smith, Sheena & the Rokkets are participating), Evenements de Mai poster on the wall, Che Guevara’s words and Allen Ginsberg’s stanza inscribed in the carpets, free space to have events and exhibitions, and also on the rooftop, there’s Cuban, Mexican, South American style garden café annexed. It surely will be a space with stoutly built mentality drifting. Architecture itself is the designer, Tom Dixon’s first architectural work and was designed with a concept of “contempt the tradition that is formalized.”
The thing that stands out from there is something that’s extremely lacking from recent youngsters = romance! Moreover, it’s “man’s romance” that has one’s own deep will to reform the world! In the first place, whether it’s fashion, art, or music, they all used to have power that directly connected to social problems. If imagination longing for the ideal world is the essence of romance, then there’s no tomorrow in the world of man without embracing romance. There will no longer be a “future” without man’s romance. Bring man’s romance to fashion, culture, and political society!!! Let’s kick some chimps ass who’s “popularity aiming” and bring on your own romance!!!! Destroy!!!!! Revolution!!!!!! And picaresca!!!!!!!
Unintentionally looking outside after excited like this over the night, it was already morning… My stomach was roaring, so I went with sandals and shorts to the convenient store to buy breakfast. Tsuyoshi Nagabuchi’s new song was reverberating all through the store.
Suddenly changing the name by which you call somebody, or calling a person by their nickname for the first time, can cause that subject to become cautious of you, or even dislike you. The same can be true with how you call yourself. Since I was very small, I called myself “boku” [= “me”]. Upon entering elementary school, all the children around me started employing the word “ore” [= a haughty way of saying “me”] instead of the more modest “boku,” but I was not able to perform this shift. This still continues to this day. Similarly, I can only call my parents by the same names that I was accustomed to as a child: “otosan” and “okasan.” It is impossible for me to refer to them as “oyaji” and “ofukuro” [Many Japanese call their parents “otosan” and “okasan” as a child, but start calling them “oyaji” and “ofukuro” as they get older]. I cannot even call the people close to me by their names, so I usually get their attention by saying “anosa” [= “you know what?”] or “neh” [= “hey you”]. This style of communication is fine for me.
Currently, we at SAL magazine are creating a publication concerning graphics, titled “Disc Package Design”.
The other day, as I was sending out a message concerning some editorial work that had to be done, I wrote in the e-mail: “Hugton, Daikaku-sama, and Misuchil Hakase: would the three of you please participate.” However, nobody answered my message. I guess it could be because they had never been called by these nicknames, which I devised on my own. But still, these strange metaphorical names that are discontinuous from our everyday communication should have aroused some amount of curiosity within the recipients of the message. However, nobody showed even the slightest sign of bringing up the subject, as if the event never happened. This still continues to this day.
I’ll explain about the names just in case you don’t know what they mean. “Hugton” is that adorable character drawn by Kaseki Cider, and the person I was trying to address by this name can be considered a beauty. “Daikaku-sama” is that character who awaits awakening in the comic “Akira,” and the person I was trying to address by this name can be considered a cutie. “Misuchil Hakase” [ Misuchil = The abbreviation for Mr. Children, a popular Japanese band; Hakase = professor] is a name that I designed to refer to somebody who knows everything about Misuchil, therefore implying a person who has solid common sense. The person I was trying to address by this name can be considered a Femenina (oh wait, what am I thinking, that’s the name of a vaginal cream).
What I am writing here has no meaning other than being an expression of the current state we are in, as we endure the busiest period of the editorial process. During this state, in which lack of sleep causes you to become naturally high for no apparent reason, people are known to say things that they wouldn’t normally say, namely very stupid things. The above 500 words or so can be rephrased into this simple sentence: “We are too damn busy.”
We are editing this new book in the same state and sensibilities that we hold when we create SAL magazine.
The subject of this publication is the various designs that can be found on 12cm optical discs such as CD and DVD. There is also a metasubject, which is the relationship between data-based music listening/distribution, as can be seen in the iPod, and the album-package as a thing, as can be seen in the CD. About 80% of the material is photography-based-graphics. It will be released on November 2, from Shoeisha Publishing Company. Details about the content will be updated next issue.
by Kurando Furuyaby Hiroshi Iguchiby SHiURAPublisher + Editor : Jiro OhashiEditorial Staff : Azusa Iwasaki / Azusa Hitomi / Kurando Furuya / Wataru MurakamiWeb Engineering : Yukinori Sagara(Pre Plant)Contributer : Keita Fukasawa / Massage / nik / Yuichi Akata / Egaitsu HiroshiDesign Adviser : Hideki Inaba
elesal / sim magazine / p rnd / shift / depot / beams T / tgb design / enlightement / tsuyoshi hirooka / unnon / far east recording / now on media / uplink / collider / rocket / progressive form
8/20 UpDate
When I lit his cigarette, he smiled and said, “This will be the last smoke before I go up the stage!” We know about his identity as an assassin surprisingly in precise. We can understand, but vaguely, his pathetic imagination of his when he sees a waterbus on the ocean of Osaka and shouts out, “It’s a space ship!” He stood up and went across the backstage with his huge body and went down the stairs towards the stage silently with his mouth shut, in which I was in the floor but wasn’t able to see that.
Words of my personal thoughts. Probably this is not like SAL’s content and also it is not a suitable content to write in this medium as a member of Massage. Anyhow, I will say it using this opportunity. With remembering a sentimental phrase that my friend who is not sentimental said, “Underground is narrow, broad, and one.” And to recompense someone’s feeling, who was saying, “Keep on,” towards the morning of back-to-back time zone in the middle of a small floor facing back from DJ booth with his arms up. There might be something intensive in that moment. We are not yearning for a light to shed in darkness, but for a streak of light that thread through darkness and stretches out to the outer body. To amplify stillness of what I am in this pathetic disturbance, fully activate the five senses and rationality (the other name for pushy insanity) and steadily advance free research that has eternally no hope for an end. While in vortex of some kind of big thing, there is no way to find out what it is. Hindsight can come along with this at any rate. But let’s concentrate on caress now. Our each breathes and behavior intercourses with the world like sex. This is eternal cum inside.
I think I got the real meaning about the trite assortment of creation is destruction and destruction is creation. This is about transformation of form as well as form of transformation. Either inside or outside the party, this is taking place everyday like it’s ordinary. We, who are put to silence by the government, must continue to continue by risking our existence at some consecutive moment that is ordinary and not special.
At the end of last month, I helped out on the first Osaka performance by Death Comet Crew, in which is the band organized in the 80’s at New York. The Rammellzee, who was not wearing body suits or mask, got onto the same stage and was singing with a hoarse voice with his potbelly pushed against the mic stand. What was at the floor was some kind of bafflement. I, who was constantly thinking about how about that idol destructionist, who is deification and called as legend, recognized that night the fact that either Death Comet Crow or The Rammellzee are not something over, finished. The leader kind of guy of Death Comet Crew, Stewart, had said, “Hip Hop is Punk for the blacks.” Then, what are Hip Hop and Punk for Japanese? I haven’t yet found the answer to that question. Maybe this is an unreasonable question to ask. After briefly exchanged the format, people remember how to pour in their own reality into that. And on the other hand, there are geniuses in every age. They decode with instinct the message that the format is serving, and with that language, they can express their inner inevitability. In those days, the ground was gradually setting up with Hip Hop, House, New Wave, and Punk, in which is present youth culture’s foundation, and this movement involved all around the world without time passing by. Because I didn’t experience the chaos filled with vitality at New York of those times, I will avoid speaking about it for now. But one thing that I can say is that those movements that have been continuing for the last 30, 40 years haven’t yet wasted away but rather having a autonomous development in worldwide communities. So, there’s no time to be amazed at the amazing miracle. This is because Death Comet Crew as well as The Rammellzee are still a living existence that is evolving in real time. We are continuously preparing for the world reconstruction by feeling the end of civil society everyday. The place and time of transformation won’t be informed in flyers. Moreover, there won’t be even conclusive of what is transformation. What we can do is to invite each other to a party that started on each one’s birthday and dance on each one’s beat. Also, we must not stop dancing whether or not the music stops with some kind of reason.
>Announcement
Sometime in September, first issue after the Massage renewal will be dropped! The contents will be a very very long interview on Toru Takahashi, insights on Flower of Life festival, in which is the party that started last year at Osaka, converse with Rawlife, Daniel Wang’s Japan journey, edit new generation Homecut interview, and articles by ECD and Latin Ras Kaz. It’s gonna be damny damn right 128 pages. And front cover will be IPPI’s no doubty doubt artwork!
At Shinjuku, just after midnight. Just as entered the restroom of a bar to urinate, a kick from behind that made the body fell directly into a urinal. Liquid splashes, brawls, and fight starts. Or perhaps, while having a conversation about movies, it soon turns out to have bloody fights, grapples, and scuffles. The naughty boys fall down from a wooden made stairs while grappling, and then sunrise. Those who were just fighting among each other head their way home with holding each other’s arms and singing a pure hearted song. However, when the night comes, sake bottles fly and they take mount positions, making the floor squeak. This real shit man festival is repeated every night.
These are numerous legends of 60’s and 70’s. Without giving out the big names such as Akiyuki Nosaka, Tadanori Yokoo, and Jyuro Kara, it was broadly filled with touching “Buyuden (heroic tale)” that had manly passion in the streets of Japan. On reflection, present time. When these stories are told to those humpbacked “youngsters nowadays” who wears baggy pants, the reply after telling these stories will only be “Shitttt, that’s baaadddd.” Until last year, they were saying something like, “I really admire samurai.” Are their brains wilted?
There are 2 prescriptions for those modern youngsters.
The first one is, no doubt, the shock therapy; autobiography film of Eishi Hayata, the one who went single-handed to Columbia “probing for stimulation in life” during the 70s and established wealth with emerald mines. It is a matter of course that kidnapping, scuffle, shooting, and bombing are included in his autobiography. This film was taken in a country where armed guerillas are occupying 2/3 of the country, which caused all American actors who were promoted in this film completely flee out. As a result, an Indio whose outside look barely looks alike Eastern men played the roll of 70’s Hayata and surprisingly, Hayata himself played as recent himself. The movie is about the man who became a number 1 emerald miner. The four months filming trip itself was consisted of danger, such as abduction, imprisonment, and murder, aiming for Hayata’s money and other things. In spite of this kind of situation, for the gun fight scenes, they used real guns because “the fake ones costed more.” Furthermore, for the scene of armed guerillas’ attack on mines, authentic guerillas were performed as antagonists. Therefore, there were many chances that Hayata could’ve been killed. Hayata performs with a risk and courage in numerous true dense shocking stories, such as kidnap disturbance of his daughter, his divorce, scenes of him going to his office and working with 10 body guards, and suppressing riot caused by his employees’ treachery by his own hands. He asserts, “I myself have to protect my own body.” Currently, other than his emerald exportation business, he carries a security company. With production cost of four hundred million dollars (own expense) and in the construction that seems amateur, the life of a man who is praised to be called as “Samurai” by Columbians, is vividly introduced in the movie.
DVD of this movie will be released in September, and also Hayata will be appearing as special guest in “Kin no A-sama, Gin no B-sama” (Nihon Television) on August 25. UPLINK FACTORY is running this movie at midnight every Friday during August. There are essences of life that are “never taught in school,” or should it be “can’t be taught in school.”
And the second prescription. Culture is genuinely creative in every period, and it was inherited through people’s “way of living” that they produce. These are not something you are “taught,” but something you “study” out of it and it is totally opposite from the “school” in which it has an attitude of full of something will happen by just attending. The Hayata’s example stated above is quite radical, but the importance here is the attitude of “challenging with your own will.” However, current “schools” are just installing simple curriculums periodically, infested with innocencing of individuality so to speak. Giving a name to the way of “continue studying” throughout life as “schooling,” an attempt to propose image of school and people that is full of new joy and originality will start from this September in Ikejiri Institute of Design. This is known as “Schooling Pad.”. Currently, application is open for students who are interested in “Faculty of Design Communication” and “Faculty of Restaurant Business Design” that will start from this September. Lecturers of both faculties are active in front-line and authentic. According to the institute, it is possible to throw yourself with your expressions of yourself by attending this course. It will definitely be a place full of stimulation and innovative matter that are not “taught” in present “schools.”
In reality, there is unjustness in “go become a man by going to dangerous places.” Doing this will result you to become a corpse. There are suitable, unsuitable matters for people. However, think yourself, find whatever you have to do, and specialize certain parts and develop them by experiencing these “ways of living.” Yup, that’s it! Thinking about getting smacked from behind, a rolling sobat is driven out in my room. But the foot got caught in the rice cooker and it hit directly at forehead. Pow. Stars spangle and rice all over the floor. Reproachful.
It’s hot. I was so thirsty so I went to the vending machine to buy a drink, but I was short of money. One 50 yen coin, five 5 yen coins, and one 1 yen coin. 76 yen in total. I was so thirsty. My upper and lower throat were about to stick together. I pulled out a thread from the hem of my t-shirt and tied it onto a 5 yen coin.
I put my hands on the floor and started swinging that coin. It blew out dusts and pebbles. Then, 100 and 500 yen coins came out also. After doing this job in different vending machines for about an hour, I earned about 4500 yen.
Then I woke up. I might have a pleasant day.
-This section reports you about THE ALBUM. However, because of some fundamental reasons, for promoting Kurando Furuya (SIM)’s pattern series, “2TONE,” this episode will be the preface written by Naohiro Ukawa
Victor Vasarely planted poppies, squish-squashly distorted the vision, and reflected 2 yin-yang symbolizing zebras as illusion on a grid canvas = <his own farm>!!! Also, Bridget Riley extremely distorted the retina by focusing on optical experience that stripes induce and emphasized its physiological effect!!!!! Moreover, Josef Albers discovered a geometrical matter that can connect Distortion, Delay, Flanger, and Wow to eyeballs in series!!!!!! From Art history, “Op Art,” in which only “eye blinding trick” is fully exposed, was prosecuted as blemish without an aura and once fully consumed as the Pop trend of the 60s. However, as long as any visual expressions are dominated by organs called eyeballs, we should continuously be poisoned by the deadly poison that blossoms that bear no fruit emit!!!!!!! This is because since Op’s birth, it’s been phantasmagoric and changed its form into graphic design, textile, and to visuals, and it‘s still encroaching our everyday life!!!!! And even today, the retina of the eyeball, in which is the only organ in our body that is being exposed, is affected by the Op!!!!!! I express my OPtimal condolence to everyone…
Anyway, Op Art had become phenomenal in the 1960s. However, Vasarely had already probed for visual effects in the late 30s, and the experimental animation pioneer, Oscar Fischinger from Germany, have already started the Op animation, “STUDY” series in 1929. The charcoal drawings that jump around on the classical melodies of Verdi and Brahms can be stated positively as the 20th century’s most plausible Hard-Op-Music clip. Also, Dieter Roth, who once was a member of Fluxus group and the god father of the artist book, had randomly fired the Op-bontage in conspiracy with the print shops. He did this by releasing many Op books using only printing techniques, such as cutting out of minimal border, geometrical envos, and overlap of color acetate films. That’s right, in spite of the artist’s will, Op have been flooding in this world already!!! You can even find a part of Op in M.C. Escher’s trick art and in the melting dream of Salvador Dali, who pursued surrealism for his lifetime.
Right around in the beginning of 1960s, Bridget Riley who once was a graphic designer, distorted the 60’s art scene by the Optical effect made by the repetition of stripes. However, after that illusion, it was popularized by the 60s MOD psychedelic that jolted the vision with the check pattern and stripes & border. And by twisting and distorting here and there, Op gently infiltrated the world!!!!!!!! After the 1967’s “Summer of Love,” the era shifted towards psychedelic phase. It was the period when personal awareness started to bring in focus, such as Anti-war movement on Vietnam War, interests toward East and Indian philosophy, and Flower Children who dropped their guns, putted up flowers and praised for peace. And also in this period, LSD, which was still legal at that time, infiltrated without any chance to regulate. Therefore, the value system that was dominating the public disintegrated. So, right, the psychedelic was also a movement that geometrical visual experiment was practiced, but in the psychedelic, not only illusion but also inner trip attends. If roughly distinguished, it is idiotically intimidating graphic, in which mental matter is removed and only visual miracle is protuberant… Maybe that’s just the optical thing. Therefore, the era was monopolized by Peter Max. Wasn’t the “body” as of the Kinetic Art the filter to connect the acid-psychedelic, in which those geometric prints and LSD flooded the dopamine, or shifting the stage to Japan, Shinjuku hyminal psychedelic of ‘68 that spread shame and happening contaminated “City and Body,” and the main issue, Oppp???
If Kinetic Art is summarized, it is “active art with technology for background.” It is needless to say that the actions in the late 50s by Kinetic artists, such as Yaacov Agam from Israel, who paid attention to kinetic matter of flat paintings and one of the pioneers of Kinetic Art, were the guidelines for the later occurring Op Art movement. And why psychedelic? It’s because you can grasp the body outline as the extreme illusion motional body!!!!! If you gaze at the hippie commune’s nudism and MOD psychedelic go-go dancers from behind, the silhouette outline is nothing but Opppp!!!! This will be a digression, but in the 70s the French artist, Andre Valand had released an art book that are only arranged with breasts from all over the world and partitioned by illusion border. Andre already knew that these sagged breasts are objects of illusion motional body… Yes, the existence of “oppai (breasts in Japanese)” itself is already sufficient to be “OPpai!!!” YESSSSSSS!!!!! So, Op exists here and there, everywhere.
Of course the Op is lurking in TVs, movies, and videos too!!!! And Flicker is it!!!!!! On 6pm of December 16, 1997, an incident occurred that will make the superstition from the auroral age would revive in the present. It’s about the commonly called, “Pokemon Incident!!!!!!!” It happened just as when McLuhan’s theory was covered with dust, Op, psychedelic, minimalism, and trance were consumed, and every viewer of the present time thought that innovative trip cannot be found anymore. The chemical function used as for flickering optical device, in which television originally had, had exploded!!!!!!!!!!!!!!! As for an example of television directly giving viewers a strong effect, there was once by a pro-wrestling show, “Rikidouzan vs. Freddie Blassie.” This was a hardcore incident, in which was about an old man, who was watching the the blood running down from Rikidouzan who was bitten by Blassie, got into a bad trip and died of overdose!!! “Pokemon Incident” happened just as when TBS(Tokyo Broadcasting System, Incorporated)’s Aum Shinrikyo press pollution problem occurred, in which was about subliminally injecting Asahara’s dope face. As you may know, “Pokemon Incident” occurred just in 4 second (120 comas) scene. By this conversion of light hypersensitivity affected by diverse red and blue strobe light flashing, blowing off from 0% black to white (Flicker), stage management that duplicates transmission into cell, and the imaginary line crash (a state of position of bodily sensation being obscured), this group spasm was unified to be referred as “Light Sensitivity Spasm!!!!!!!!!” 560 children, from primary to high school kids, were brought into hospitals and the number of victims later expanded to 732!!!!!!!!!! Therefore, the 36th episode of “Pocket Monster,” “Dennou Senshi Polygon,” that caused the bad trip became an illegal episode like the 12th episode of “Ultra Seven,” “Yuusei Yori Ai Wo Komete,” in which the Spell alien, who is A-bomb victim, appears!!!!! To sum up, the producers applied this method because in the space where transmission mostly covers the screen, employing red and blue flashing was the most simple and effective way to express the exploding expression!!!!! Yes, the essence of this “Pokemon Incident” was only trying to make children’s eyeballs to OPtimize. Recapitulating in another way, Flicker as well as Op is the “only” idiotic intimidation and overwhelming shock treatment for the eyeballs.
Flicker, which was diversely used since the auroral period of television, was a very popular method. Also, in the history of experimental films, there are many works made using only the visual effects of Flicker. The work of non image which totally denied the montage (that is blinking) = Tony Conrad’s “The Flicker,” Toshio Matsumoto’s glimmering film, “The Art Man,” and flashing experiment of Robert Julia’s works are it!!!!!! TV Anime was turning into aciiiiiidddddd Monterrey OPp Festival!!!!!!!! This is because especially the Summer of Love was the cultural background in those days, hippie movement and psychedelic culture was influential, and circumstances that the strongly illusionable lighting trend, in which was gelatin lights and strobe lights, overlapped. The making sequence of Major League 2nd ball, i.e. disappearing diabolical pitch from “Kyojin no Hoshi,” is that the pitching style completely becomes in straight line. It blackouts right after Hoshi is in the back swing position, and from then, about a minute or so, Hoshi, Ban, and manager Kawakami are dried because like pitching on the stage of Les Rallizes Denudes, they are engulfed by the electrical shock!!!!!!! On the other side, in the “Ace wo Nerae!” (‘73~’74) it turns into Les Rallizes Denudes whenever Hiromi Oka strikes a receive (it’s erotic when written in this way) and the white skort was also Op and on!!!!!!!!!!!!!!!! Yes, that’s right; television is originally a glimmering optical drug!!!!!!!!!!! And also, this method was not necessarily used between the periods of the auroral and Anime but they were rather used effectively on hero special effects programs. In this, methods like flashing and flickering were not used, but rather glow effects and halation filters, flaring, and transmission were used to produce. They are optic effects that are primitive and optical!!!! It is needless to say that this became the genealogy of experimental films and “Video Drugs.” Right, the Japanese special effects’ transforming scenes are full of Op!!!!!!!!!!!!!!!!!!!! (notes: 1~11) Concerning about the television that has acciiiiddd and optical dots of several million colors, was “Dennou Senshi Polygon” really an “evil” thing... And after the Pokemon incident, NAB (the National Association of Commercial Broadcasting in Japan) and NHK together put a guideline for the visual method, in which Flicker as well as methods of optical expressions are getting a compulsory regulation more then any other regulations that they had before!!!!!!! The DVD released by the writer, “Boredoms / SUPERSEEEE!!!!!!” became the prey of this regulation because the release date unfortunately overlapped with the “Pokemon Incident!!!!!” Moreover, there is a bitter experience that majority of the work was caught in this regulation so the press factory refused to produce and I had to self restraint myself!!!!! This work was made with the LA animator = Brian Midkiff. This animation is showing the making of the sun by using the flashback flicker effect. Adopting this method was the most suitable way to metaphor the sunlight, so it was merely visualized. If this expression shall be restricted, then does it mean that we must self restrict not to natural-op-trip, in which we can do it by blinking very fast while gazing at the sun?????? Later produced, “UKAWA NAOHIRO / SCANNING OF MODULATIONS” was the writer’s this century interpretation of “history of electronic visuals” that goes from analog C.G. of John Whiteney, who repeated experiments by using the first IBM and motion control system, up to video art of Ron Haze, who used video synthesizer and scanimate. However, because excessive Op & Flicker made “HONDA,” who was the sponsor, gave up the post (because it was broadcasted as TV program at first) (sweat)!!!!!!!!!!!!!!!
Yesssss!!!! Op can be found here, there, and even over there!!!!!!!! Checked entrance mattress that Duskin distributes, Coca Cola’s company CI, NTV’s test pattern of after broadcasting hours, St. James’ marine border wear, Vivian Westwood’s dot denims, Shinjuku sub downtown’s skyscraper district, Nabisco cracker’s accumulation of holes on the surface, traffic lights that glimmers in “yellow,” nomadic Yonezawa cow’s epidermis, Hiro Yamagata’s laser show, Yayoi Kusama’s identity…… When looked closely, the visual images that dominate our reality are mostly Op!!!!!!!
The absolute truth of Heart Sutra = “Shiki Soku Zei Ku (form/color is precisely void)” theory, needless to say, points at the virtual reality. It is a fact that the closest virtual space is this reality and we are nothing but getting a reality based on illusion of multi-dimension, that is Op’d so many times!!!!!!!! If you can recite the whole natural world with Mandelbrot’s fractal theory, you should be able to ascertain the mundane too with the optical illusion magic!!! And on account of publication of this visual book, “2TONE,” Op Art is no longer a thing only to absorb, but it became a thing you illicitly manufacture yourself!!!!!!!!!!!!! Tune on the enclosed CD-ROM into the hard disk and using the copyright free EPS file, connect Delay to eyeballs in series!!!!! Furthermore, with the after effects, Flick the Op motion graphic and from the desktop, shoot the geometrical illusion to the universe!!!!!!!! Yes, this world is “a world that who ever Ops the most wins!!!!!” !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
This text is critical compilation with a new manifesto arranged with Naohiro Ukawa’s interviews and the text he first covered in the listed below, in which he used Op Art for the subject matter.
First Cover: “DESIGNPLEX 6. 2001: Questionnaires on SCANNING OF MODULATIONS” ? “Bijutsu Techo 7. 2001 / The Pleasures of Op Art” Op Trance! Naohiro Ukawa Interview. Interviewed by: Takashi Azumaya ? “COMPOSITE / 1. 2001 / TVed World 2001 / THE UNKNOWN HISTORY OF THE FLICKERING DRUG. Naohiro Ukawa”
Notes 01 ~ 11:
01 “The Fire Man” ’73 ©Tsuburaya Productions
A masterpiece that have yin-yang aspect, in which collage type transforming scene that looks as though Stefan Beck made it, resemble closely to Brakhage!!!! The illusion inducing sequence where it seems as though Mescaline was ingested, gives the low deviation valued viewer enlightenment and grade of all 5!!
02 “The Triple Fighter” ’72 ©Tsuburaya Productions
This is a rare work of uniting type hero special effects!!! The ultra abstract uniting scene that looks like Norman McLaren’s pastel method formula is put into optical printer, is spaced out about equal to Hiroyuki Nakano’s “Video Drug!!!!!”
03 “The Super Robot, Mach Balon” ’73-74 ©Toho, NTV
Gram rocking theme song that will make Gary Glitter pee on his pants, is an excellent piece of music composed by Tadao Inoue!! The illustration of Mach Balon, who sympathize and modulate to this energetic music, is an electro work made with mat type video synthesis, in which was still novelty in those days!!
04 “The Kaikei Lion Maru” ’72- ’73 ©P Production
The transformation scene of hairy type special effects periodical drama, in which was emitted by the old established production that makes cat tribe special effects, P production!! Tribal drawing OP synthesis attains to Fischinger. The theme song later was quoted by the freak out unit “Hoburakin” and pursues a scam destiny!!!!!
05 “The Inazuman” ’73-’74 ©Ishi no Mori Productions, Toei
Along with the supernatural power boom, in which broke out after Uri Geller’s appearance, the unique settings of the Inazuman called “supernatural warrior,” accelerated to high contrast hypnotic effect type transmission effect that transfigure the space-time!! From here, it transforms to genuine phimosis, “the Sanagi Man!!”
06 “The Kousoku Esper” ’67-’68 ©Senkosha
First science fiction special effects, sponsored by Toshiba!!!!!! There aren’t much synthesis scenes, but OP trancily directs a setting of light wave energy research and mutant by diversely using the camera effects, such as focus, wringer, and lens filter.
07 “The Jinzou Ningen Kikaidaa” ’72- ‘’73 ©Ishi no Mori Productions, Toei
Transformation scene that uses mask synthesis is popular, but Philopontic illusions are demanded in the base of Professor Gill!!!! After thinking deeply, the figure of Jiro, who gets paranoid and aggressive after harassed by Gill’s flute, is a boy who’s desperate to get drugs!!
08 “The Uchu Tetsujin Kyodain” ’76-’77 ©Ishi no Mori Productions, Toei
It’s acciiiddd great work that has innovative optic OP synthesis in parts. The setting of incestuous homo sexual uniting robot between Skyzel & Granzel is bad, but having fixed mask flicker as a layer in Op synthesis technique is trippin’!!!
09 “The Captain Ultra” ’67 ©Toei
Synthesis scene is a bit too few. But the drawing anime of the opening scene and captain’s bluebag synthesis is similar to “Group in the heart,” by Deee-Lite? Isao Tomita’s soundtrack gets you trippin’ too!!!!!
10 “The Ultra Seven” ’67-‘68 ©Tsuburaya production
The transforming scene of Moroboshi Dan was innovative but now, we shall focus on Ultra Seven’s reverse playing motion graphics that is marveled by sand (perhaps)!!!!!!! Camouflage design becoming a logo is an OP experimental!!
11 “The Kurekuretakora” ’73-74 ©Toho
The Far North? East? South? West????? Of the true trance-like handicap drawing OP synthesis, in which Vince Collins was not able to take off. Fainting sense of direction and balance arranges Sahara desert and Tottori desert in a line and makes a lost child become a child who desires to be missing??
“2TONE Vision Warping Patterns”
>Release: Thursday September 8, 2005 Price: 3,800 yen (w/o tax) Format: 216mm*216mm 108pp with one Mac/Win HYBRID CD-ROM (JPEG, EPS format) Editor: Kurando Furuya Produce: Ranfukan Masanori Omae ISBN: 4-86100-345-8 Publisher: BNN, Inc.
by Hiroshi Iguchiby SHiURAPublisher + Editor : Jiro OhashiEditorial Staff : Azusa Iwasaki / Azusa Hitomi / Kurando Furuya / Wataru MurakamiWeb Engineering : Yukinori Sagara(Pre Plant)Contributer : Keita Fukasawa / Massage / nik / Yuichi Akata / Egaitsu HiroshiDesign Adviser : Hideki Inaba
elesal / sim magazine / p rnd / shift / depot / beams T / tgb design / enlightement / tsuyoshi hirooka / unnon / far east recording / now on media / uplink / collider / rocket / progressive form
7/20 UpDate
Will Sweeney & Susumu Mukai appeared in the latest “GASBOOK20” of GASBOOK and recently done an exhibition at BEAMS T. We have attempted an interview to Will Sweeney, who have provided his works to apparel brands such as Levi’s, STUSSY, GIMME FIVE, and MEDICOM TOY, and will publish “Tales from Greenfuzz 2” next year, and Susumu Mukai, who is not only active in illustration field, but also active in his music project, “Zongamin.”
(W=Will Sweeney S=Susumu Mukai)
GASBOOK_#1 , #2 , #3 , #4 , #5
1. Where is your action base (place, within groups or solo)? Where do you basically produce your work?
W: I have a studio in Dalston, East London, but I also like to work at home when I feel antisocial.
S: At House of Zongamin Dalston London.
2. What is it that made you want to start doing the work you are doing? What brought you into this field of illustration?
W: Necessity...I can't do anything else.
S: For the love of drawing. Being honest to what I want to draw.
3. Do you have any conceptual person or artist you admire?
W: Too many to mention - at the moment - Jun Takahashi & Madsaki.
S: I'm not sure what you mean by conceptual person... Artist, I've been interested in Austin Osman Spare's life and his work recently.
4. What kind of stance do you take when you create your work?
W: Physically? I sit down. Creatively? I imagine what a drawing might look like in my minds eye and try (unsuccessfully) to realize this vision.
S: Generally I try to be spontaneous but also try to involve craftsmanship of my sort if I can call it that. And to keep it fresh for myself so I don't get bored. While sitting down if I can't be lying down...
5. Tell us about your GAS BOOK 20. What was your goal in completing/making this book?
W: To create something engaging, funny, strange... and to show off.
S: We wanted to include as much as possible so for people who look at it, there's enough details to come back to and discover something new each time. But in spirit, it's a very personal book for us.
6. How did you work up this GAS BOOK 20? When did you start making work for this book?
W: Most of the work included has been published or shown before in one way or another, but we also wanted to create some brand new work for the book. We began doing this around March of this year.
S: It covers about eight years of our drawing life right up to this year.
7. What is the concept of this GAS BOOK 20?
W: There is no overall concept, but the cover concept is of a werewolf who plays the organ - the music that he produces is like our work - the music of madness... lycanthropy.
S: Lots of hair and sharp teeth.
8. Do you have any plans for the near future?
W: Working on 'Tales From Greenfuzz' 2 and some new toys. Also I want to write a more serious story and illustrate it in black and white - almost the opposite of Greenfuzz.
S: Zongamin album. More projects with Alex Giomo including Golden Age monster series. Also I've been inspired by Will's work to do a comic book/illustrated story book.
Interviewer: Wataru MurakamiΔ
Dear People,
This year, we would like to start a medium called “zine.”
Anyone can participate in this, and can do anything you want.
What we are going to distribute are only logos and format for the time being.
What you guys have to find is a cheap printing office.
We will undertake the circulation.
For other things, let’s do it freely.
It is thoroughly innocent and destructive, but positive. 2005, the flow of time is has become more danceable then ever. Welcome to the daily life of sound checked demonstration.
Behind us, there is always the dried twilight approaching, and the road that we go through like running away from there is not flat like the dance floors. However, we can be delighted for the products of the thousand seas and the thousand mountains that we are going to surpass. At least while we still believe in the fantasy like the one in this sentence.
We urge to express something, basing on this fantasy. Things we wish to formulate something from there are not realistic fantasy, but fantastic reality. Fantastic stories that we can experience through our body. Miracles that are accumulated as results. Territory that is reality owned by you, in which daily and undaily are brought together. Things happened outside your body that is experienced by your sense organ which is included in that reality. And also, the story of yourself that progress equivalently within you, along with that. We would like to produce a place where those two meet. That is “ZINE.”
Anyone can participate in this and also you can do anything you want to with this. Draw, write, stick stickers, and put CD on, anything you want to do. The number of “ZINE” is proportional to the number of participants. We will undertake the circulation, but we don’t mind you distributing or selling them at your local record shops or apparel shops, cafes and homes. This is planned out cultural terrorism that outbreak at from North to South, East to West, at the same time. What we’ll distribute to the people who declared to participate in this are “ZINE’s” logos and for the time being format. After that, use it as it is or reuse it after decomposed, it is up to you about what you’ll do with it.
For now, let’s forget about being a creator or being an expressionist signs and scatter them everywhere by carrying out the DIY mentality from naïve impulse against expression and something produced from that. To disturb the stagnant period, to redraw the geography of culture, with each one’s supervision and responsibility, why don’t we show them our output, that we feel it’s bad, without any embarrassment. You know what, you can make collections of nude photographs (if you think that’s avant-garde). “ZINE” is a floor to leave your steps of dance of what is dancing inside your head in traces.
On the concreted street, small flags are raised on the magnificent dog poops. On this flag, there is a graphic written that goes like this, “There’s more dog poops dropping on the entrance of our hotel.” Or, a poster imposing with pride, “Our service got worse!” Commercial with a drunk banging on the doors in the hallway at midnight with a telop, “This is our morning service.” These are all advertisement campaigns of one low-priced hotel in Amsterdam. The producer of these commercials is kesselskramer, the advertisement agency which represents the Netherlands. You readily be astonished by the unbelievable ideas and technique for an advertisement. Kesselskramer is known in Japan, for instance the DIESEL’s world campaign of these few years. However, besides the advertisements, they develop independent works such as series of collaboration project, “do create,” with Droog Design. For example, the “do FC,” filled with its orientation of message “anyone can have fun with soccer without having sponsors like the famous teams,” is a product of set of tapes that have respective patterns for making soccer balls by congealingly rolled up, for making soccer field by taping it on the ground, for making the crowds in stands by just taping it on the walls, and for making trophies by taping it on glass bottles. Furthermore, there is the “do hit,” a set of lump of metal and hammers to create a sofa for one person, and the self-planned movie, “The Other Final,” (collaborated with Robot Communications Inc. from Japan) in which is a match between the lowest-ranked national soccer teams, Bhutan and Montserrat. They have transgressed the field and established their worldly evaluation by employing these communication techniques of advertisement.
This time, such people have published a series of works from Pie Books of Japan, “2 kilo of kesselskramer.” This book took the name 2 kilo from the initials of kesselskramer, KK, and the book actually weighs 2kg. It is reddish browned book which totally reminds of a brick. Even the visuals for publicize this book are astonishing. A boy taking out this book from the sidewalk as it is a paving stone, and a lady pedestrian who is passing out on the street because she got this book direct hit on her head. The works of advertisement included in this book are full of things that makes viewers think, “Is it alright with this?” and gives consecutive thrills and impacts like not only his works but also his life will be sent to funeral procession at the stage of presenting to agencies if in Japan.
But, when thought in a paradoxical way, this feeling of awakening to the truth is nothing but representing how “graphic advertisement” of present Japan are stained in my own body. This book counter-irradiate as fact that how Japan’s “advertisements” are specialized system in product publicity manipulation and how much “consumers” keep on spinning around in this hype-like consumption multi-theory without having this concept. It surely does become a Neatherland made 2kg blunt weapon and smacks one direct hit to our head.
In fact, after questioning to Eric Kessels, the founder of KesselsKramer, “What is the trick to satisfy the clients?” he replied, “Respect the audience and propagate the fact with faithfulness.” (I am sorry for my own manuscript. The interview on Mr. Kessels will appear in the August edition of “Designer’s Workshop” from Bijutsu Shuppan Design Co., LTD.) The fact that the orientation of humanness ascends after forming hype “advertisement” under this last stage of capitalist society, that is where everything becomes advertising action when there’s consumption and where the primary kids joyfully singing, “Money is important.” On reflection, Japan. In the conference room of a company who have achieved to the “winning class” in the advertisement simulacre competition, the discussion frustrate while looking at this book as the material source and imagining the scenery of people hitting each other on their head with 2kg. This is the reason why the manuscript doesn’t make progress. Then, I involuntarily struck my head. 2kg impact. The brain swayed like a powder.
First of all, I had an editor kind of interest about, “I wonder what would it be like if the genius designer, Skatething, made a monster picture book.” I offered a plan on collaboration with Tsuburaya Productions to Nakamura and he replied, “If the images of Tsuburaya are sampling free and I can use them, I am happy to accept your offer.” I wanted to construct the clear storyline as a book, so I asked Soon, ex-Monsoon Cru, for a support on the textual side, and agreement made. When we opened a meeting at Skatething’s work-room, Kan Takagi, from the Ape Sounds, brought his dog along with him. I remembered that, “Once before, Kan-san had written somewhere about the PYG song was used in ‘Return of Ultraman’,” so I asked him for a contribution to this, which he agreed. The plan proceeded just like that. I got a mail from Nakamura which said that, “PAM from Melborn is now in Tokyo, and I talked to them and they said that they want to participate in the monster book.” PAM participated from the middle-point of this project by exchanging picture files, and decided to announce “Dongaba,” in which are pictures of costume photograph of the original monster. (After all, we changed the monster to “Baagamon” instead of “Dongaba.”)
Neither the title nor the concept of the book was decided yet. I asked Nakamura, “Could you think of any good title for this book.” I received some title candidates for this book immediately. I shall introduce some of them that I remember.
“The Best Gangsta-rap of Universal Gang, Zetton”
“Let’s Assemble a Monster Band!”
“Monster Lonely Journey: 3000 songs to bring in iPOD”
“Monster Coloring Book. Style Wars. Galiban Graffiti Notebook”
“Alien Saucer, Decotora”
You can recognize the remarkableness of Skatething. One day, Nakamura send me a mail with a title called, “Monster Teddy Boy.” (I think it is associated with one of the Skatething’s favorite books, “TEDDY BOY” by Masayuki Yamazaki, in which was brought up during the meeting.) After this title was conveyed I suggested, “What about ‘Tearful Monster Party’?” “Monster Party hey, that sounds great.” So the title was decided. By the way, the origin of this title is associated with Leslie Gore’s 1950’s hit chart, “Namida No Party (It’s My Party in English)” The song was about I went to the dance party, but there’s no one to dance with… Right after the title was settled, concept of this book was settled too. It’s the mash-up of atomic culture of 50’s that is represented by the regent style and 80’s new wave, Hip Hop culture. Please look at the front and back cover of this book. Alien Kemerr and Aerozor and a streamlined American cars are all in joined.
> SKATETHING, Kan Takagi, Soon, Perks And Mini’s “Tearful Monster Party” on salePrice : 2,415 yenURL: http://www.ghetto.jp/shit/
First Mobile Phone
A person who carries a mobile phone is rich, clever entrepreneur, and busy. Mobile phones used to be like that, so poor, poor entrepreneur, and unoccupied with time me hadn’t owned one for a long time. I mean, I lost the opportunity to own one, so even now I own a PHS. (BGM: Call Me / Blondie)
First Travel
Seas! Mountains! Like that, we have tendency to travel in summer. Moving around in winter seems to have some kind of special reasons like broken heart or flee, so I think moving in summer and taking a small trip are printed in DNA like the migratory bird. So, from long time ago, the BGM in my brain was this. It’s like Enka. (BGM: Sailing / Rod Stewart)
First CD / Record
Of course, I am from record generation. Talking about first time, so I definitely didn’t have money. It was the donut disk. This donut is not about French Cooler or Old Fashion donuts. It’s the 45rpm single disk. Don’t kids react to dramatic sounds like Queen or melodious ones like Godaigo, because they’re stupid? (BGM: Rasputin Kaisou Rasputin / Boney M)
First Mobile Phone’s Correspondence Melody
First mobile phone’s correspondence melody. Sounds good. It was long time ago, I had an extreme interest in the changes of mobile phones and I researched about them to write my manuscript. According to the materials of then, probably, the first mobile phone in the world to have the beep sound of correspondence melody was NTT Docomo’s digital mova N103HYPER. This was about 1996. When I listen to the oscillator sounds from mobile phones, it reminds me of the 90’s techno at twilight. (BGM: Minimoog phasor waves / electronic sounds / oscillator)
First Party / Rave
Speaking of party, it’s about that thing. Wear a triangular hat, pull crackers, and drink champagne. Nn? Anyway, it’s a public place with communication in view. My first party was Manabu’s birthday party when I was in primary school. I think. (BGM: IT’S MY PARTY / DAVE STEWART & BARBARA GASKIN)
(From the mobile site: SAL Yogaku Mania: re-manuscripted)
Soon after the lights in the seats are dropped, the audience leaned against the seats and stood ready to look forward to the new musical.
However, Mr. Ground started to play a trashy foreign movie, which audience was not expecting.
As the movie started, the audience tried to leave. But, because of the darkness and the seats are closely packed, most of them were forced to go back to their seats. So, the movie kept playing. One minute became fifteen minutes, and this fifteen minutes steadily passed by. What Mr. Ground was doing at that time was that he locked himself in inside the projection room, laughing his head off by banging into walls.
(The Magic Christian / Terry Southern Bloomsberry)
When Antonioni comes in, camera angle and movement, scenes and the subject in that scene, those colors and movement--in spite of being human and being material--start to tell the story. Conversations were secondary and not an important element.
(Vennesa Redgrave)
There are good cases and bad cases, but in any cases, things that are used everyday are all designed. Even to cars, toasters, and clocks. When Alexander Graham Bell invented the phone, there was only telephone line.
(Andy Rooney)
It was way before 1991 when one of my friends told me that he had formed a “organization.” It was “not a company”--this was a vague part to me that time--but it was “an assembly of visual artists and creators.” Everyone who gathers did creative things. He also said that he will send things that were created there. After that conversation, he added, “This assembly will be called ‘Tomato,’ funny name isn’t it? But I like it. I already have an office (which he didn’t say office) down in Soho, London” We friends started to call the building where their “gathering place” was installed “Tomato Building.” After a while, Underworld not only did gigs for freaks who liked the darkness of clubs, but also in huge festival places.
When we realized Peter Saville had become an artist who represents UK. Everyone might know about his doing the graphic designs for Factory Records in 1980’s because it was described in the movie, “24hrs. Party People.” In the 1980’s, there were a lot of new wave graphic designs or artworks being used in the analog cover designs (and for cassette tapes) in that times. The reason why 1980’s was different from other ages was because many independent record labels were formed and because of their economical reasons and maybe because of the “Zeitgeist,” they used designs and artworks that were refused in rocks and pops records. This situation applied not only in UK, but also to ZE records who was publicized that their base was in Paris and London. ZE records released artworks by James Chance & The Contortions, Lizzy Mercier Descloux, and Christina, in which they became very popular (but it is notorious about the problems between the artists).
People who noticed that Europe and the United States are not the only places that make deeply interesting music, perhaps collected Reggae, Dub, Ska, or Afro records from the past. What can I write about the fascination of Reggae / Dub records jacket? It is really difficult to explain how the Tapper Zukie or Burning Spear records of 1970’s and 80’s was heterodoxy (to the outside of Jamaican society). The printing gaps, overlaps, ruled lines that seem to be unsatisfactorily stopped, portraits like a snap shots… There are people who satirize by saying, “No way,” but for the other party, designs like putting 47 pairs of shoes in 2 pages are ridiculous. Think about this sometime. I myself can’t say about other people, but pretending to be clever is like a reminder of not cleverness.
Clubs, gigs, concerts, festivals, music, visuals… no, outrageously widening the range by thinking, our life are being designed. Supermarket’s illuminations are spreading whitely at midnight. There are stacked products that say, “Buy.”
Finally, there rises a question about why music needs visuals (or vice versa). Therefore, it is the period of agitation for artists and for receiving side. What’s important is to experience, and brining that near to para-experience is blasphemy.
What, am I exaggerating too much again?
> THE ALBUM (1st)
Participating Artists: Shintaro Sakamoto (YuraYura Empire) / Shutoku Mukai (ZAZENBOYS) / Keita Ishiguro (ex.ILLDOZER) / Hiroshi Iguchi (THE BWOY) / Yoko Kawamoto / Tomoo Gokita / Hideki Inaba / Mark Mothersbaugh (DEVO) / CD album sound producer: Tomoo Gokita Release: June 24, 2005 Format: 112 pages w/ CD album Price: 2,520 yen Art director: Hiroshi Iguchi Editor in plan: Kurando Furuya Publisher: BEAMS
> This month’s goodie
THE ALBUM uncontained track: : <Track12.mp3 >( Written by Tomoo Gokita & THE WAF )
by Hiroshi Iguchiby SHiURAPublisher + Editor : Jiro OhashiEditorial Staff : Azusa Iwasaki / Azusa Hitomi / Kurando Furuya / Wataru MurakamiWeb Engineering : Yukinori Sagara(Pre Plant)Contributer : Keita Fukasawa / Massage / nik / Yuichi Akata / Egaitsu HiroshiDesign Adviser : Hideki Inaba
elesal / sim magazine / p rnd / shift / depot / beams T / tgb design / enlightement / tsuyoshi hirooka / unnon / far east recording / now on media / uplink / collider / rocket / progressive form
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