è² ã®é£éæ§ãšèšããè¬ãã°äžæ²»ã®ç
å ¶ããæµ·ã®æ§ã«æµåããéã®å€§æµ·å
å ¶åŠã«è§Šããæãæå ãç©èªã£ãŠããã®ã¯
çŽããç¡ãçŽçç¡å¢æ§
ç¥ã¯å ¶æ¹ãå°ãã§ããããå ¶æ¹ã®åšãã¹ãåŠã«
æåæ§ã䌎ã£ãè ã®ã¿ã«èŠ³ããã§ããã
ä»æãç¡ãããã«èŠããé ãããçŸä»£ã®é»éã¯
ä»ãæãæäžã«çŽãŸãããšããŠãã
Negative chain reaction is an incurable disease
The ocean of the soul that purifies it like the sea
My fingertips that touched it speak of unmistakable innocence
God will guide you to where you should be
Only those with sensitivity can see
The seemingly insignificant hidden gold of modern times
Now it is about to be in my hands
2024/10. Berlin, DE
ééã®ç¡ãå²æ ¢ãªæ¬²æ
ææãé£ã¹ã亡éé
éããããªãæ æ°ãªå埩
å®å šã«ç§©åºãç¡ãããäžç
é«è²Žãªéã¯äœåŠã«ãèŠåœããã
å šãŠã®ç²Ÿééãå 倩ããŠè¡ã
æ€åŠã¯æãã®æãŠ
ããããããã¡ãã®æãž
ååŒãäžçã
ãã®éæ²³ã®æãŠã®æ®éªžã
æã¯ããã§ãå ãæŸã€
èãšçãšå ±ã«
Endless arrogant desires
Ghosts that eat fears
Inescapable repetitions of lazyness
A world lost its order completely
Noble souls are nowhere to be found
All spirits have fallen
This is the end
Welcome to the door
Ah, world
Remnants from the edge of this galaxy
I am still to shine
Together with the snake and the fox
2024/08. Berlin, DE
ç¡èªèŠã®éçã®å - The Light of the Unconscious Lucifer
æãèããã«æ¡ããæŒèŒçŸ ã®çµšæ¯¯
éå»ã»çŸåšã»æªæ¥ãç¡äœçºã«äžŠã¶æç³»å
ãã¥ããºã ã®çµµç»ã®æ§ã«ãããå šãŠãæéãªã£ãŠããŠ
å ¶ã®äžã€ãæãããªè¡šæ ãæã£ãŠããªãäžå¯æè°
æ°æ ãççŸãªæ°é ãå¿«ãæãã®å»»å»
A carpet of mandalas spreading in the dark twilight
A random timeline of past, present and future
Like a Cubist painting, all of them are folded on top of each other
A wonder that none of them has a clear expression
A languid and sweet atmosphere A corridor of pleasant fear
2024/08. Berlin, DE
éæ³ãšåŒã°ããé³æ¥œ - Music Called Magic
çœã®å€§é·²ãçã®ç座
ç·çã®éåç³
çœã®å€§èãçåŠã®ç¬ã¿
碧è²ã®éåç³
é è ã®æºåŸ³ãè³¢è ã®æºæ §
éæ³ãšåŒã°ããé³æ¥œ
White eagle King's throne
Green diamond
White serpent Queen's smile
Emerald diamond
Wisdom of the hermits Wisdom of the wise
Music called magic
2024/08. Berlin, DE
宿çžã®çŸ éç€ - Karma Compass
æŒé»ã®æ±æãå èŒãªå°ã
æªéã®å°ãã倩䜿ã®æ±æ
çžåãã極éã«äœçœ®ããäºã€ã®é¡
å ¶ããã«ç±ãäžçŽç·äžã§ã®ä¹±åå°
çœé»ã®éã«ç¡éã«æ¡ããã¹ãã¯ãã«
çŸå®ãšå¹»æ³ã®æªæãæ··æ²ãšç§©åºã®æ··åš
æµ®äžããå¯äžã®éãå ¶ã®äžã§ã®ç¶±æž¡ã
çã§åšãæ»ã§åšããæ»ã§åšãçã§åšã
èŠçã¯éã«æåãã
å ã倱ã£ãééã¯ã
æªéã®é€é£ãšçºãã
æèã®å²è·¯ãé«æ¬¡ã®éã®çŸ éç€ã§èçãã
å·Šå³ãæã¿ãïŒäžåºžãæã¿ãïŒ
æèã®å²è·¯ãé«æ¬¡ã®éã®çŸ éç€ã§å€èªãã
A pitch-black embrace Glorious guidance
The Devil's Guidance The Angel's Embrace
Two mirrors located at opposing extremes
The resulting diffuse reflections in a straight line
A spectrum that spreads infinitely between black and white
A mixture of reality and fantasy A mixture of chaos and order
The only way to emerge A tightrope walk on it
Being alive and being dead Being dead and being alive
Your vision becomes fainted in darkness,
and your soul loses its light,
becoming prey for the devil.
Revive the crossroads of consciousness with the compass of a higher soul
Do you want to go left or right? Or the golden mean?
Decipher the crossroads of consciousness with the compass of a higher soul
2024/08. Berlin, DE
I am Helios - æã¯ããªãªã¹
I am Helios - a god of the sun. I am crossing this world from the east to the west and will be crossing Okeanos. I am to be back to the east at the end.
Honoring the dead paves my way.
I offer a requiem for 30 billion wandering souls.
æã¯å€ªéœç¥ããªãªã¹ - æ€ã®äžçãæ±ãã西ãžæšªæãããªã±ã¢ãã¹ãæž¡ããæåŸã«ã¯æ±ã«æ»ãã
æ»è ãæ¬ãäºãæãéãåãéãã
300åã®åœ·åŸšããééãžã®é®éæãå·®ãäžããããã
2024/08. Berlin DE
ç¯ç« - Light
貎æ¹ã®äžã®ãŸã ç¯ã£ãŠããªãèçã«çãç¹ããã
å ¶ãã¯ãã貎æ¹ã®ã¢ãã§ãã
I lit the yet unlit candle within you.
It is now yours.
2024/06. Berlin DE
Nothing
Guilt trap
Kindness trap
Attachment trap
Yellow voice trap
Ego driven trap
Hardcore trap
Gender trap
Sexist trap
Racist trap
Beauty trap
Politics trap
Healing trap
Security trap
Money trap
Sorry trap
Compliment trap
Entertainment trap
Grandiosity trap
Traps everywhere
Extreme dualism trap
Repetitive shits on repetitive shits.
Donât be fucking short-sighted.
å°åã¯å€§æªã«äŒŒããã倧åã¯éæ ã«äŒŒããã
Cut - Attach - Cut
Zum beispiel, Sorry - Thank you - Sorry
Deswegen. Death gegen. Gegen Tod.
Anatomy of psychological attachments
å¿ççæçã®è§£ååŠ
2024/05. Berlin, DE
Everything
You are hearing us.
You donât understand.
You are scary.
You are cute.
You are unbelievable.
You are cool.
Incredible.
Crazy.
That Asian is everything.
Iâm sorry.
Who is he?
Very cool.
He is good.
Super.
Guyana.
Super cool.
Who the fuck is he?
Huh?
Itâs enough.
Oi.
Really?
Seriously?
Are you the Alice?
Yes, I am.
Do not vocalize it.
It is not to say but to be.
Hahaha.
Enough, enough.
What the fuck is that?
You are great.
I modestly hope so.
Alice - Allis - Alles
2024/05. Berlin, DE
Nichts
A black crow flew from right to left almost perfectly horizontally.
The trees moved from left to right gradually like a wave of the ocean.
No, this is not silence science. Whatâs next?
æ²é»ã®ç§åŠ
Siren once, silence.
Voiceã silence.
Voices, background noise.
Compliments, silence.
I have been ignoring it, excuse me.
I do know and I do not.
Another silence science.
å·Šæ§ã§ããããŸããïŒå·Šæ§ã§ãã
å·Šæ§ã®äœçšã
Observe, analyze, dots - lines, assumptions, tests, conclusion - truth.
Fuck off, it didnât sound you meant it.
I do love you for that.
Kisses.
Now, the kitchen started to make noises.
Excuse me for the shift of the energy field I triggered.
I am what I am.
Alles Gute.
æ²é»ã®ç§åŠ
2024/05. Berlin, DE
Alles
Beelzebub, give me enough power to go through this shit. I'm ready to take the pain according to the contract.
Leben fÃŒr alles, was ich brauche. Tod fÃŒr alles, was ich nicht brauche.
Birth to everything I need. Death to everything I don't need.
This will kill you spiritually unless you commit mental suicide.
Alles und nichts.
Not everything or nothing, but everything and nothing.
å šãŠãšç¡ã
Ist alles okay?
Alles gut.
Gut.
My head still sometimes hurts but I'm feeling rather peaceful.
Peace.
Frieden.
å¹³åã
Blessing to all.
Segen fÃŒr alle.
å šãŠã«ç¥çŠãã
2023. Berlin, DE
Random Poetries
çœã®å€§é·²ãçã®ç座
ç·çã®éåç³
çœã®å€§èãçåŠã®ç¬ã¿
碧è²ã®éåç³
é è ã®æºåŸ³ãè³¢è ã®æºæ §
éæ³ãšåŒã°ããé³æ¥œ
White eagle King's throne
Green diamond
White serpent Queen's smile
Emerald diamond
Wisdom of the hermits Wisdom of the wise
Music called magic
æãèããã«æ¡ããæŒèŒçŸ ã®çµšæ¯¯
éå»ã»çŸåšã»æªæ¥ãç¡äœçºã«äžŠã¶æç³»å
ãã¥ããºã ã®çµµç»ã®æ§ã«ãããå šãŠãæéãªã£ãŠããŠ
å ¶ã®äžã€ãæãããªè¡šæ ãæã£ãŠããªãäžå¯æè°
æ°æ ãççŸãªæ°é ãå¿«ãæãã®å»»å»
A carpet of mandalas spreading in the dark twilight
A random timeline of past, present and future
Like a Cubist painting, all of them are folded on top of each other
A wonder that none of them has a clear expression
A languid and sweet atmosphere A corridor of pleasant fear
å°ãã€ã«ããã ãã®äºæãš
é æ ®ç¡ãå ã¡ãŠè¡ãæ æ°ã®ç©Žãš
ããªãºã ã«åå°ããè¹è²ãš
çå€äžã«çŸããä»äººã®æ¯é£ããš
æ€åŠã¯äœåŠãªãã ãã
Five senses that are just a little crazy
The hole of laziness that falls without restraint
The rainbow colours reflected on the prism
The breathing of others that appears in the middle of the night
Where is this place
質éã®æ»è»¢ã
ç¹
éŸå€ã®éæŸã
ç¡é
å¶ç¶ã®èªçºã
ç¡äœçº
Mass torsion
Point
Threshold opening
Infinite
Chance induction
Random
幟蚱ã®æ³ªãæµããèš³ã§ãç¡ã
èšæ¶ã«çŒãä»ããŠãã姿
åè»ããçŠç¥ã
é œå»ã®ææãŠ
çåœè£ 眮ã«éŒèããã身äœã
海峡ç¡ãæ¡ããè空ã®æè
A figure that is burned into my memory
without a few incapacitating tears
The frustration of ruminatingã
The farthest reaches of decadence
The body inspired by the life apparatusãã
Thoughts of a void that spreads without a strait
2021/07. Berlin, DE
Human Patterns
Eine Revolution in sich selbst, die uns wie Schuppen von den Augen zu fallen scheint
Mit einem Schicksal, das synchronisiert werden sollte und einer Mission, die in Harmonie sein sollte
Schicksalhafte Unfug, die uns schrecklich ins Gesicht geguckt hat
Und menschliche Muster, die sie ÃŒberwinden und reinigen
A revolution in oneselves, that seems to drop scales from our eyes
With a destiny that should be synchronised and a mission that should be in harmony
Fateful mischiefs that peeped into our faces horribly
And, human patterns that overcome and purify them
ç®ããé±ã®èœã¡ãæ§ãªèªèº«ã®äžã§ã®é©åœ
åæããã¹ã宿åœãšèª¿åããã¹ã䜿åœãš
çŠã ããé¡ãèŠãåºããéåœã®æªæ¯ãã¡
ãšããããè¶ å ã»æµåããŠãã人éæš¡æ§
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ãšãªããšãåã®äžã§ç€ŸäŒã«å¯Ÿããã¡ãã»ãŒãžãæ確ã«ãã€ã€ããããªãšæã¡åºããªãéãã¯ãåèªèº«ã¢ãŒãã£ã¹ãã§ã¯ç¡ãããšããäºã«ãªãã
ãšããæèããã£ãšïŒè²ãŸããŠããã®ã§ããŸã æé·ã®äœå°ãããã®ããªããšããã£ãšèããŠããæ矩ã®ãããèªèº«ã®äžã§ã®äœçœãå€ãããŒãã®æ§ã«çŸç¶æããŠããã
2024/08. Berlin, DE
ç§ã«(äž)å¯èœãªäº - What I Can(not) Do
ç§ã«ã¯æããªã人éãå± ãŠãç§ã«ãæãã人éãå± ããç§ã®æã«äœã人éã¯ç§ãããåã®ãã人ã«ä»»ããç§ã¯ç§ã«å¯èœãªç¯å²ã§è¡åãããããã§è¯ãã®ã§ã¯ããšå°ãã°ããèããããæ§ã«ãªã£ãŠãããçŸå®åé¡ãç¡çãªäºã¯ç¡çãããããã€ãæãéãããã®ãªãèª å®ã«åªåããäºã çŸç¶èªèãæªããªãçºã«ããç©äºãçŽèŠããŠéããªãå®çŽã§æ£çŽã«ãªãäºããããŠãããããåãæ¢ããŠãçã£çŽãã«èªããäºã
ãŸãæé·åºæ¥ãæ°é ãé¡ãåºããŠãããæ°ãããã
åã欲ãããïŒãªãåããŠããã
ãããªé¢šã«è²°ããåãªãèŠããªããã
ã©ãããæªéã®å¥çŽã ããã
æ£ã ã«ã«ããèè² ã£ãŠããã®ã ããããã以äžã®æ¥ã¯èŠããªãã
èªèº«ã®åªåã§ãããŸã§è¡ããã
There are people I cannot save, and there are people I can save. I leave those who are beyond my control to those with more power than me, and I act within the limits of my ability. I'm starting to think that's okay, a little bit. In reality, impossible things are impossible. If you want to achieve it someday, you need to work sincerely. In order not to distort your perception of the current situation, you need to face things head on and be as honest and sincere as possible. Then, accept them and acknowledge them honestly.
I feel like I'm starting to see signs of growth again.
Do you want power? If so, I'll give it to you.
I don't need it if it's power that can be given to me like that.
It's probably a pact with the devil anyway.
I've already been carrying so much karma, I don't need any more.
I'll get there with my own efforts.
2024/08. Berlin, DE
What Makes Humans Human?
What makes humans human?
Nationality is just an asset.
It can be changed anytime.
What defines you?
History? Background? Language? DNA?
Combination of atoms? Knowledge you possess?
Intelligence? Power? Whatever.
Think through it, otherwise you are a machine.
Think through it, otherwise you are not qualified to be a human.
Excuse me if I was terribly rude to you or similar.
2022/04. Berlin DE
Music Speaks, Therefore Music Is
I am special but/and part of it.
Music tells, therefore music is.
I am, for the music.
2021/07. Berlin, DE
A Man
A man came to the very first show of my live performance in Berlin.
He seemed very impressed after the show.
I visited his Berlinale premiere of a film.
I was astonishingly impressed in a way that his film somehow succeeded in showing me a sense - a sense that few rare people can only hold - an ephemeral balance between life and death, freedom and domination, peace and chaos, and so on.
A man came to me and said, at the after party of the premiere on the day.
âIâd like to ask you for my next filmâs soundtrack commission.â
I wasnât sure if this was just the greeting and/or mere alternative of saying hi to me.
A while later, my phone rang. It was him.
âIâd like to ask you for my next filmâs soundtrack commission.â
He was dead serious. I understood it at the time.
I have never commissioned a film soundtrack before in my career, however, he somehow believed in me. At least, he believed in what he has seen/heard at the venue - my music.
I do not have a classical musical background or anything.
I cannot even read scores properly.
Music itself/themselves has/have been my teacher(s) only and nothing else has.
I am a purely self-taught musician / composer.
None of my family / relatives are music orientated people.
I confess here.
I owe you, a man.
I owe you for not taking you seriously enough at the time.
A man believed in me.
A man believed in no status or whatever but the music he had heard at the time.
2021/04. Berlin, DE
A Way To The Musical Elixir
Thoughts, of a a person who (extremely personally) continued to challenge to produce musical medicine / prescription that could cure so-called (especially mental) illnesses, caught me quite clearly. What is this?
æè¬ïŒãšããã粟ç¥çãªïŒç ãæ²»çãåŸãåŠæ¹ç®ãåã¯è¬ã®çæãïŒæ¥µå人çã«ïŒé³æ¥œçã«è©Šã¿ç¶ããŠãã人ããšããæèã»ææ³ããããªãæ確ã«åãæããã®ã ãã©ãäœã ãããããã
2021. Berlin, DE
A Package of the All
Ich wÃŒrde gerne alles in dieser Welt (was ich wahrnehmen kann) in die Musik stopfen.
I am to stuff everything in this world (which I am able to perceive) into the music.
ïŒèªèº«ã®ç¥èŠããŠããïŒãã®äžã®å šãŠããé³æ¥œã«è©°ã蟌ã¿ããã
2020. Berlin, DE
My Modest Hope (?)
I exist here / You exist there.
You exist here / I exist there.
Without knowing your existence, how can you exist in me?
Without knowing my existence, how can I exist in you?
I'm happy to know your existence.
I (very modestly) hope? that you are, also.
ç§ã¯æ€åŠã«ååšããŸã / 貎æ¹ã¯å ¶åŠã«ååšããŸãã 貎æ¹ã¯æ€åŠã«ååšããŸã / ç§ã¯å ¶åŠã«ååšããŸãã
貎æ¹ã®ååšãç¥ããã«ãã©ãããŠè²Žæ¹ãç§ã®å ã«ååšåºæ¥ãã®ã§ãããïŒç§ã®ååšãç¥ããã«ãã©ãããŠç§ã貎æ¹ã®å ã«ååšã§ããã®ã§ãããïŒ
ç§ã¯è²Žæ¹ã®ååšãç¥ããŠå¹žãã§ããç§ã¯ïŒéåžžã«æ§ããã«ïŒåžæïŒ?ïŒããŠããŸãã貎æ¹ãããã§ããäºãã
2020. Berlin, DE
Vertical Lines / Horizontal Lines
When the teacher drew a rectangle shape on the blackboard in an elementary school math class and asked, "Do you know which ones are the vertical and horizontal lines?", all immediately answered that two lines located in horizontal positions vertically are the "vertical lines" and the other two lines located in vertical positions horizontally are the "horizontal lines". It was initially very difficult for me to understand and I almost started hating math because of this experience.
å°åŠçã®ç®æ°ã®ææ¥ã§å çãé»æ¿ã«é·æ¹åœ¢ãæããŠã瞊ã®ç·ãšæšªã®ç·ã¯ã©ãã ãçåããããªïŒããšèããæãçã¯çžŠåãã®æšªã«äœçœ®ããŠããïŒã€ã®ç·ãã瞊ã®ç·ãã暪åãã®çžŠã«äœçœ®ããŠããïŒã€ã®ç·ãã暪ã®ç·ãã ãšå³åº§ã«çããŠããŠãåã¯äœæ ã ãç解ãèŸããŠç®æ°ãå«ã«ãªããããäºããµãšæãåºããã
2019. Berlin, DE
Kukangendai at Ausland, Berlin
å埩ããå¥æ°æåã軞ãšããããªãªãºã ãšãçççãªå¿«ã»äžå¿«ã®ã©ã€ã³ã絶åŠãªç·åŒµæã§ä¿æãããã¹ããã¯æ§é ããŠããŸã³ã¯ãããŸã§ã®æµããé®æããæ§ã«æ°é®®ãããã£ãŠäœ¿çšããããã³ãç¹æã®ç¡é³æã®ãã¡ã³ã¯æã¯è¡šé¢çã«ã¯ãã®å§¿ãé ãã倧ããªå°ç¯æ§é ã®äžã§è¥å¹²ã®æ°é ãæããããªãã以åãããéãååšããŠãããåã ã®æ¥œåšãããããã«é³Žãã®ã§ã¯ç¡ããæå°åäœã®é³ããããã®æ°ã ããã³ãã¡ã³ããŒãååšãããããªé¯èŠãå§åçãªé³ã»é³æ¥œã«å¯Ÿããå ±éèªèã»çŸæèç¡ãã§ã¯çã¿åºããåŸãªãã°ã«ãŒãŽãå·æãªãŸã§ã«ç¹°ãè¿ããããã¬ãŒãºã®ãå°ç¯æ¯ã«å·®ç°ãæã£ãŠèŽãããæè¡ã
æ¬åœã«è¯ãã©ã€ããèŠãŸãããé³æ¥œã奜ãã£ãŠããããäºã ããªãèªåéã®è²ãçªãè©°ããã£ãŠããããäºã ããªããšäžç¹ã®æãããªãæšæ¥ã®ç©ºéçŸä»£ã®é³Žãããé³æ¥œã¯åã«æããããŠãããŸããã
Thank you, 空éçŸä»£.
2018. Berlin, DE
Creation
Recently, I have been thinking a couple of times unexpectedly, "If the creator of this world created this world for human beings, why did you create a world that can not be perceived by ordinary senses?". It seems that the overwhelmingly occupied proportion of this imperceptible world is large, and if the world where 100% of the world's events can be sensed by humans, "creation" itself will not be created in this world I ended up thinking. At present, my thinking seems to be calming down, saying that "the Creator wants people to be like the Creator and thus created a world that can not be perceived."
æè¿ãäžæã«äœåºŠãèããŠããäºããã£ãŠãããããã®äžã®åµé äž»ã人éã®çºã«ãã®äžçãåµé ããã®ã§ããã°ãäœæ éåžžã®æèŠã§ã¯æç¥ã§ããªãäžçããåµé ããã®ãïŒããšããäºãªã®ã§ããããã®æç¥ã§ããªãäžçã®æ¹ãå§åçã«å æããŠããå²åã倧ããããã ããä»®ã«äžçã®äºè±¡ãïŒïŒïŒïŒ 人éãæç¥ã§ããäžçã§ããã°ããã®äžã«ã¯ãåµé ããšããäºèªäœãçãŸããªãããã«æããŠããã®ã§ããåµé äž»ã¯äººéã«åµé äž»ã®æ§ã«ãªã£ãŠæ¬²ãããçºã«ãæç¥ã§ããªãäžçããåµé ããããšããäºã«çŸç¶åã®æèã¯èœã¡çãããã§ãã
2018. Berlin, DE
Deutsch
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2015. Yamanashi, JP
Venus in Mocha Coloured Furs
A scar you made on my hand disappeared on that day. It seems to be a mere coincidence.
She behaves / appears like a cat. You weren't so when you were little. She became a part of a family by a sheer coincidence. Until the very end, you seem to have kept a pride as a woman. Last few days, she showed me an aspect of "life", strangely realistic, many people might see it as "ominous", but I didn't feel so. You just looked / I just felt like your spirit was eager to live beyond the decline of your body / flesh. She taught me the very essence of "life". You taught me a pride as individual to be retained. Your last appearance, as such a noble individual, was highly beautiful. I'd remember it often surely. It was very nice to meet you. When I see you again, let's go for a walk together. I'd be happy to listen to your selfish requests if there is. Rest in calm peace for now. I will see you later.
圌女ã«åãŸããå·è·¡ããã®æ¥ã綺éºã«æ¶ããã®ã¯äœãã®å¶ç¶ãªãã ããã
ç«ã®æ§ãªæ¯ãèãïŒäœãŸãã§ãè¥ãæã¯ããã§ã¯ç¡ãã£ãã®ã ãã©ãã²ãããªäºãã家æã®äžå¡ã«ãªãäºã決ãŸã£ãåã§ãææãŸã§å¥³æ§ãšããŠã®èªããå®ãç¶ããæ§ã«æãããææã®æ°æ¥ããã®æ§çžã¯ãçããšããåŠã«ãªã¢ã«ã§ãããçš®å€ãã®äººã«ãçŠã ããã¢ãããšããŠèŠãããããããªãåŽé¢ãå£éèŠããäºã«ãªã£ãã®ã ãã©ãåã«ã¯ããã¯æããªãã£ãã粟ç¥ãèº«äœ / èäœã®è¡°ããè¶ ããŠã§ãçããããšããŠããæ§ã«ããèŠããªãã£ãããæããªãã£ãããçããšããæ¬è³ªãã®ãã®ã圌女ã¯åã«æããŠããããå®ãã¹ãåãšããŠã®èªããæããŠãããããããªæ°é«ã圌女ã®ææã®å§¿ã¯ãšãŠãçŸããã£ããããã£ãšä»ããã床ã ãã®å§¿ãæãåºãäºã«ãªããšæããæ¬åœã«åºäŒããŠè¯ãã£ããä»åºŠãŸãäŒãäºããã£ããäžç·ã«æ£æ©ããããã¯ã¬ããã«ãåãã§ä»ãåããããã ããä»ã¯å®ããã«ããŸãäŒãæãŸã§ã
2015. Yamanashi JP
Time Art
I would still feel inappropriate when things are perceived, understood and concluded piecemeal and superficially. Fluidity / versatility / multi-layers - a depth produced by those elements. I feel that it surely exists. For example, when we enjoy the music - time art, I do think we apply "time sequence" as a measure and perceive it. If this "time sequence" was applied beyond the framework of music, existing (fixed) ideas would be expanded. In other words, human history, world history and lives of every individuals could actually be interpreted as time art. Every timelines you have been involved (not meaning in a SNS way) will be collected as part of your time art - you have been creating through your life. I assume I am (to some extent) sensitive to the "time sequence" however, I seem not to have understood this concept until now.. (Thinking this in a painter way, for instance) we are all given a white canvas called the time and each of us are painting on it in various ways. "All phenomena / events are time arty. All human beings are time artist." I don't know why I thought in this way but It feels pretty right to me.
ç©äºãæçç / è¡šå±€çã«åãåã£ãŠç解 / æå®ããäºã«ã¯ãã£ã±ãéåæãèŠããŸããæµåæ§ / å€é¢æ§ / å€å±€æ§ - ãããã®èŠçŽ ãçã¿åºã奥è¡ãïŒãšåŒã³åŸãäœãïŒã確å®ã«ååšããŠãããšæããã®ã§ãäŸãã°ãé³æ¥œ - æéèžè¡ã享åããéã«åãã¯ãæéã®ã·ãŒã±ã³ã¹ããç©å·®ããšããŠäœåãšå¯Ÿé¢ãããšæãã®ã§ããããã®ãæéã®ã·ãŒã±ã³ã¹ããé³æ¥œãšããæ ãè¶ ããŠé©çšããã°æ¢åã®ïŒåºå®ïŒèŠ³å¿µãæ¡ããããã®ã§ã¯ïŒãšãã€ãŸããä»è¿ã®äººé¡å²ãšãæŽå²ãšãåã ã®äººéã®äžçãšããå šãŠæéèžè¡ã«æãåŸãããé¢ãã£ãå šãŠã®ã¿ã€ã ã©ã€ã³ïŒSNSçãªæå³åãã§ã¯ç¡ãïŒããã®äººã®äžçãéããŠè¡šçŸãããæéèžè¡ã«ååãããŠããããšããããæéã®ã·ãŒã±ã³ã¹ãã«ããçšåºŠææã§ããçãªã®ã«ãã®äºãä»ã«ãªã£ãŠãã£ãšç解ããæ§ãªããç»å®¶çã«èããã°ãæéãšããçã£çœã®ãã£ã³ãã¹ãäžããããŠããŠãããããã®äººéãè²ã ãªçµµãæããŠããããšããããå šãŠã®äºè±¡ãæéèžè¡çã§ãå šãŠã®äººéãæéèžè¡å®¶ã§ããããšäœæ ã ãåãããŸããããµãšèããŠãçµæ§ãã£ããæ¥ãŠããŸãã
2015. Yamanashi JP
To The Madly Beautiful World To Death
For instance, from when you were little, I guess everyone has had a sense of incongruity to certain extent. It appears to be impossible to judge whether I'm crazy or this world is. Accelerated sensibility seems to rather expose a decisive break between me and the way the world is. However, in order to go forward, taking one firm step at a time must be noble. For example, even if you confront yourself with such a world, who can deny the way you decided to be, live, exist and the path you have endeavoured to discover? I wish I could rather enjoy a contradiction but I'm not born in such a way.
There are variety of people sitting in the direction we call the past, when we catch the concept of time linearly. To mention six, Leonard Da Vinci, EugÚne Ionesco, Johann Wolfgang von Goethe, Novalis, Shusaku Arakawa and Michael Ende. There's a feel in myself that what they have left have certain influences on the way I am now. My gratitude to the way they were.
äŸãã°å°ããªé ãããã®äžçã«å¯Ÿããéåæãçå°ãªããããããšæããèªåãçã£ãŠããã®ãäžçãçã£ãŠããã®ãå€æäžå¯èœã§ãå éããŠè¡ãæåæ§ã¯ãã®äžçã®åšãæ¹ãšã®æ±ºå®çãªæ絶ãå©é·ããæ§ã§ãããªããŠãããã§ãäžæ©ãã€é²ãäºã¯ãã£ãšå°ãããäŸãäžçãšå¯Ÿå³ããŠããŸã£ãŠãå ¶åŠã§èŠã€ããèªåã®åšãæ¹ã¯èª°ã«ã ã£ãŠåŠå®åºæ¥ããã®ã§ã¯ç¡ãçã§ãççŸããã£ãšæ¥œãããããšã¯æããã©ãããåã¯ãããªé¢šã«ã¯çãŸããŠãªãæ§ã§ã
æéã®æŠå¿µãçŽç·çã«æããæã«åããéå»ãšåŒãã§ããæ¹åã«è²ããªäººéãå± ããä»®ã«å 人æãããšããã°ãã¬ãªãã«ã ã ãŽã£ã³ãããŠãžã§ãŒã ã€ãšãã¹ã³ããšãã³ ãŽã©ã«ãã¬ã³ã° ãã©ã³ ã²ãŒããããŽã¡ãŒãªã¹ãèå·ä¿®äœãããã£ãšã« ãšã³ãã圌ããæ®ããŠããããã®ãä»ã®èªåã®åšãæ¹ã«é¿ããŠããäºã¯ç¢ºããªæ觊ãšããŠååšããŠããŠããããªåœŒãã®åšãæ¹ã«æè¬ã®æãè¡šããŠã
2015. Yamanashi, JP
Giselle
Giselle came into view silently, with a strained look, from behind the cross of the grave. She stepped into the stage little by little, unhurriedly and steadily. I remember her appearance was as totally melted into time and space at that point.
Giselle crossing the stage diagonally, audience applauded.
It was that moment my conscious was totally drowned and went away from me - the lift in the middle of the show. Giselle flew in the air as if her entire body was dislocated. Floating stature, at that moment and exact place, as earth's gravity was not valid and a door to the another dimension was opened. Ephemeral as a ghost, elegant as a bird's feather and the preciousness of Giselle's fate that allows her to perform all those astonishing motions as if she was easily stepping into the zone beyond the human physicality.
This world is still full of buds of unknown excitements.
ååæ¶ã®å¢ã®åŸãããã²ã£ãããšçŸãããžãŒã«ã¯ã©ãã匵ãè©°ããé¢æã¡ã§ãå°å»ã¿ãªã¹ããããèžã¿ãªãããã£ãããšã¹ããŒãžã«è©°ãå¯ã£ããåŠã«ãã®æéãšç©ºéã«æº¶ã蟌ãã§ããã®ãèšæ¶ããŠããã
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Autechreâs SIGN
The Autechre live I saw at the Glade Festival in the UK in 2006 was the best live I have ever come across in my whole life, and it was a set of four Elektrons based on âUntiltedâ which was released in the previous year. I write this fact first.
I think the âSIGNâ is a complete failure. The ideology of the alias Autechre (for certain while), I personally understood, is that they have been in the pursuit of abundant complexity (after applying through the sensibilities and aesthetics of the two), which has been extremely information-overload-esque and continued to reject and transcend the (hardcore) listener's analysis. In this regard, I do not think the âSIGNâ has much of such impressions. However, the fact that the essence of the problem I am feeling is not this point, seems very serious... I cannot see what they were aiming for. Rather, they probably made it very natural to their senses. The essence of the problem is here. Quite clearly, I feel that this level of music is already overflowing everywhere. With each release of Autehcre, the new territory of electronic music was further expanded, and the stimulating sensation of marking the alias Autechre into the undeveloped regions faded its presence. If music of Autechre does not have this innovative feel, what could possibly remain after? Isn't there anything left...? Now that only the name Autechre has surpassed the value of the actual musical output, the only thing I have in mind is what they wanted to say / convey with the title âSIGNâ. This question has been spinning around in my head.
2006幎ã«ã€ã®ãªã¹ã®Glade Festivalã§èŠãAutechreã®ã©ã€ãããåã人çã§ä»è¿ã«çµéšããæé«ã®ã©ã€ãã§ãããå幎ã«ãªãªãŒã¹ãããUntiltedã軞ãšããElektronèšïŒå°ã§ã®ã»ããã ã£ãäºãé®®æã«èšæ¶ããŠãããäºãå ã«æžããŠãããŸãã
SIGNã¯å®å šã«å€±æäœã ãšæãããã€ãããAutechreãšããå矩ãæã€ã€ããªãã®ãŒïŒã®æ§ãªã¢ããïŒäºäººã®ææ§ã»å¯©çŸçŒãééããäžã§ã®ïŒæ¥µåºŠã«æ å ±éå€ãªããªã¹ããŒã®åæãæ絶ã»è¶ å ãç¶ãããããªã最沢ãªè€éæ§ã®è¿œæ±ã«ãã£ããšå人çã«ã¯æããŠããããã®ç¹ã«é¢ããŠãSIGNã«ã¯ãã®é¢åœ±ãã»ãšãã©èŠåããããªãæ§ã«æããäœããåã®èããåé¡ã®æ¬è³ªãã寧ããã®ç¹ã§ã¯ç¡ãäºãéåžžã«äºãæ·±å»ã«ããŠããæ§ã«æããäºäººãç®æããã¢ããå šãèŠããŠããªãããšãããããããããäºäººãéããªãèªç¶äœã§äœã£ãã®ã ãããããã«åé¡ã®æ¬è³ªããããšæããããªãããããªæèšãããšããããã®ã¬ãã«ã®é³æ¥œã¯å··ã«æº¢ããŠããæ§ã«æããŠãããAutehcreããªãªãŒã¹ãéããæ¯ã«é»åé³æ¥œã®æ¥µéé åãæŽã«æ¡å€§ãããæªéã®å°ã«AutechreãšããåãäœåºŠãããŒãã³ã°ããŠãã£ãæ§ãªåºæ¿çãªæèŠã¯ãã®åœ±ãæœãã圌ãã®ïŒèªç¶äœã§äœãããããšä»®å®ããŠã®ïŒé³æ¥œã«ã¯ãããã£ãé©æ°æ§ãç¡ãããšãªããšæ®ãã¢ãã¯äœãªã®ã ããããïŒäœãç¡ãã®ã§ã¯ç¡ããããïŒAutechreãšããã©ãã«ã ããå®éã®ã¢ãŠããããã§ããé³æ¥œã®äŸ¡å€ãåé§ããŠããŸã£ãä»ãSIGNãšããã¿ã€ãã«ã§äœãäºäººãèšãããã£ãã®ãã»äŒãããã£ãã®ãããšããç¹ã ãããåã®é ãä»ãããããšåã£ãŠããã
2008. Brighton, UK
Table of Contents | Thesis
- DESCRIPTION
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2008幎ãè±University Of Brightonã®Digital Music / Sound ArtåŠç§ã§å°±åŠäžãåæ¥è«æãæžãéã«èšããïŒæ¥æ¬èªã§æžãããïŒç®æ¬¡ãšã¡ã¢ã®ããã¹ããã¡ã€ã«ãïŒãµãšãããã£ããã§ïŒHDDããèŠã€ããŸãããææçã«èããŠãç¬Mille PlateauxãããªãªãŒã¹ãããYu Miyashitaããã¥ãŒäœ"Noble Niche"ã®å¶äœææã®ååŸãšéãªããŸããä»èŠè¿ããšæ°æ¥ããããéšåïŒèã ããè¥ããäžè²«æ§ãç¡ãããã€ããå€ãç¹ïŒãå€ã ããã®ã§ãããèªèº«ããã®ææã«äœãã©ãææ¡ããŠãããã客芳çã«ææ¡ããæŽã«ãããå ±æããŠã¿ãããšããèãã®å ãå çä¿®æ£ããŠå ¬éããŸãã
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- CONTENT
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- Edited / Modified on 15 March 2015
2008/02. Brighton UK
Dissertation 2008
18. 02. 2008
Unit no: AG364/AG365
Tutor: Dr Kersten Glandien
Japanese Noise Music
Yu Miyashita
Contents
1. Noise Music
2. Japanoise
3. Merzbow
4. Japanese Traditional Music
5. Miyagi Michio
6. Western Noise Music / Lou Reed
7. The Japanese Brain
8. Definition of Noise
9. Onkyo
10. Sachiko M
11. Technoise / Ryoji Ikeda
12. Glitch Music
13. Yasunao Tone
14. Conclusion
ãNoise Musicã
Noise music is music composed of nontraditional musical elements, and lacks the structure associated with Western Music.
(Wikipedia - Noise music)
The origin of Noise Music can de traced back to the very early 20th century, when futurist painter Luigi Russolo announced his manifesto 'The Art of Noise' in 1913. He invented devices called the Intonarumori to create noise sound, which he thought could be a future replacement for traditional melodic music. Between 1910 and 1960, composers such as Arnold Schoenberg, Edgar Varese, John Cage, Karlheinz Stockhausen and Iannis Xenakis contributed to push the boundary of Noise Music, influenced by the movement of Futurism.
ãJapanoiseã
Japanoise (ãžã£ããã€ãº) is the label applied to the prolific and influential noise music scene in Japan primarily in the 1980s and 1990s. As such it is a portmanteau of the words Japanese and Noise.
(Wikipedia - Japanoise)
In many ways it only makes sense to talk of Noise Music since the advent of the various types of noise produced in Japanese music. In terms of quantity this is predominantly the 1990's onward. Japanese Noise music has existed since the 1970's and from the 1980's it has been increasingly influential in underground music scenes. It emerged as a genre of free jazz, progressive rock and hardcore.
Between 1960 and 1970, Japan has experienced furious student activism. In addition to this, in the early 1970's, there was a remarkable change in economics - the 'Japanese asset price bubble' which peaked at the end of 1989. The stock market lost approximately a third of their value in just eighteen months after its peak. These incidents caused excessive uncertainty about the future throughout Japan. In my opinion, alike punk culture in the United Kingdom, as a resistance to those social conditions, Japanese Noise Music emerged and gained its intensity and harshness, which set it apart from Western counterparts.
Japanese noise artists has extended the border of noise music to an extreme of loudness and density, which became a major influence on Western noise bands. Many well known performers such as Keiji Haino, Merzbow, Hijokaidan, Hanatarash, Boredoms, Incapacitants, and Masonna were active in the 1980's. These noise musicians have made Japan a Mecca for noise fans.
ãMerzbowã
Merzbow, also as known as Masami Akita is a most important figure in Noise Music scene (not only in Japan but also worldwide ). He has released more than three hundred recordings since 1979, year he activated the project. He was born in Tokyo in 1956 and has musical roots in psychedelic music, progressive rock and later free jazz. He studied art at Tamagawa University, where he found Kurt Schwitters, dadaist known for complex architectural construction called Merzbau, made of rubbish, and origin of Masami's project name. He has collaborated with many artists such as Zbigniew Karkowski, Russell Haswell, Alec empirer, Mike Patton, Pan Sonic, Masonna, Jim O'Rourke, Kim Cascone, Sunn O))), Boris, and John Wiese, who are influential and important figures in their respected genre, Noise Music. Masami is also known as prolific author.
It is not just its cultural or historical position that Japanese Noise Music other to world music, but also its materiality. Metals, objects, electronics, samples, distortions, feedbacks and effects used not for effect but as action (not as ornament).
Early work of Merzbow is based on tape-loops and heavy use of percussion samples. It is characterized by overdriven , feedback and effect-laden noises from analogue equipment, notably from analogue synthesizers and electronics. He begun to use digital technology, PowerBook, in late 1990. This drastic change of equipment worried funs of Merzbow because they were dominated by the idea that originality of his music only comes from combination of handmade or junk electronics, vintage synthesizer and any other analogue equipments. However, Masami has accomplished this shift-change smoothly. Therefore, it is common to see him on stage with only laptop(s) these days.
'Takemitsu' is one of the four tracks recorded on a CD album titled 'Amlux', which was released under the 'Important Records' in 2002 in USA. This 5:26 long piece start off with industrial sounding repetitive pulse beats. After several bars of rhythm loops, gentle glitchy noise comes in and forms a second layer. The volume of the rhythm loop decreases gradually. Then, a sudden appearance of exccesive-volume noise attacks those two layers and pushes them to an unhearable level. It gradually turns into harsh and intense noise, then hits the first peak of the track . When it ceases, a new layer of chorus effected noise is inserted. After a while, several distorted beat loops emerge. Finally, this track ends with whole layers of noise altered to harsh and brutal levels. 'Takemitsu' has many pulse beats, which are reasonably straightforward, and, with these, crackles, rambles and steel sheet-like sounds are above the beats. This is a consistent characteristic for recordings which are made exclusively on laptop.
It is because we have no traditional, strong music roots. That's why we can go anywhere
(Uchihashi Kazuhisa)
ãJapanese Traditional Musicã
Many Japanese noise musicians might not aware of connection between their music and traditional Japanese culture. In traditional Japanese music, there is a certain likeness of use of noise sound called so-on (åªé³, means non-musical sound) which can be heard from many Japanese traditional musical instruments such as 'Koto' or 'Shamisen'. I assume that this fact has something to do with an existence of vast number of recent noise musicians in Japan. If noise itself sounds totally irritating or uncomfortable, there would not be such a large number of noise musicians in Japan. So, the question is, "Do Japanese find noise (or noisy) sound more enjoyable than Westerners?"
ãMiyagi Michioã
Miyagi Michio was born in Kobe, Japan. He lost his eyesight when he was just eight years old, and started studying Koto under the guidance of Nakajima Kengyo ll. In 1907 he moved with his family to Incheon, in southern Korea. He wrote his first composition 'Mizu no Hentai' at the age of 14. When he was 18, he reached the rank of kengyo, the highest rank for a Koto performer. Miyagi moved to Tokyo in 1917 and had several recitals. The notable piece 'Haru no Umi' has made him one of the worlds known composers.
A compilation CD of Japanese traditional music called 'Kurokami' was released under the 'Saydisc Records' in 1988. Musicians credited are Rie Yanagisawa and Clive Bell. The former performs Koto, Shamisen and voice, while the latter performs Shakuhachi and flute.
'Haru no Umi' is a Meiji shinkyoku(*1) piece for Koto and Shakuhachi composed in 1929 by Michio Miyagi. It is the first track of the album and is 7:47 long. The piece starts off with a gentle slow Koto melody. Soon, Shakuhachi melody comes in and overlays the Koto sound. Both timbre of instruments mildly melt and play for first one minute. Between1:01 and 1:27, due to an uplifting pace of Shakuhachi, a slight change of atmosphere occurs. A good example of Koto's so-on sound can be observed between 1:40 and 1:56. Subsequently, a second loop of the song starts. The arrangement of both melodies is slightly altered and becomes trickier this time. At two points, 3:10 and 4:27, the Koto is played in a subtle amusing way. Then a third loop begins from 5:16. and ceases at 7:33. Throughout the entire track, its tempo and pace are loosely defined.
In traditional Japanese music (like 'Haru no Umi'), musical aspects such as timbre, pace, tempo, rhythm, melody and harmony are not as rigid as Western music. It always has an intentional lack of preciseness in a certain way. In short characteristics of traditional Japanese music are - not certain strict rhythms but loose fluent rhythms, not totally theorized chords but rough free chords, and finally not certain pace but altering pace. In my opinion, it is this looseness within the aesthetic of traditional Japanese music that is a key factor in the evolvement of Noise Music in Japan. Expanding these aesthetics, together with aesthetics of liking so-on (non-musical sound), to ultimate extreme level turns out to be what Noise Music is now, that does not follow any theory, or chords or timeline,.
Noise music is a one of several genres of music that feature anti-traditional musical elements ; 'noise music' can be said to signify the one way of rejecting the structure associated with Western music.
(Wikipedia)
ãWestern Noise Music / Lou Reed ã
Lou Reed was born March 2, 1942, is an influential American rock singer-songwriter and guitarist. He was singer-songwriter of The Velvet Underground, often cited by critics as one of the most important and successful groups of their era. As the Velvet's principal songwriter, Reed wrote lyrics about subjects of personal experience that rarely had been examined in rock and roll at the time. As a guitarist, he was a pioneer in the use of distortion, high volume feedback, and nonstandard tunings. Reed began his solo career in 1971.
His album called 'Metal Machine Music' was originally released as a two-disc LP under the 'RCA Records' in 1975. Since music style has been changed so dramatically compared to his other releases, this album was considered mistakenly as a joke at first. However, it is now considered an
early well-known example of Noise Music. The album consists of guitar feedback played at different speeds. According to Reed, The two guitars were tuned in unusual ways and played with different reverb levels. He would then place the guitars in front of their amplifiers, and the feedback from the very large amps would vibrate the strings - the guitars were, effectively, playing themselves.
'Metal Machine Music (Part l)' is the first track of the album. It starts off with guitar feedback all of a sudden. It keeps sounding throughout 16:21 minutes, the total length of the track. Its intensity level stays constant from the beginning to the end, with continuous change of reverberation and feedback. This piece could be considered a free jazz of two guitars themselves. Since Reed set up the environment. which enable two guitars to sound spontaneously, they are communicating, jamming and responding to each other.
By using two guitars, in an expected way, but as an automatic feedback system, Reed has managed to reach the point of where music becomes Noise Music. Misuse of electronic equipment is certainly one of the most crucial method for creating noise. At this point, as creator of 'Metal Machine Music', Reed is respectful noise musician and at the same time, an innovator. However, I would claim that the album has a lack of intensity, heaviness and fascination compared to Japanese Noise Music.
ãThe Japanese Brain (in terms of processing sounds)ã
The 'Japanese Brain' was written by professor Tadanobu Tsunoda in 1978. This book explains how our brain works towards various types sounds. Professor Tsunoda carried out research to find physiological difference between brains of Japanese people and the other races. The results of his research led to a surprising discovery. The human brain is divided between the left and right spheres, with each having different functions. The right brain is called the music sphere, because it processes the sounds of music, machinery and noise. The left brain is called the language sphere, because it processes sound of language logically and intellectually. Up to this point Japanese are the same as Westerners.
Tsunoda also found a difference in the location, where the sound of insects are processed. His experimentation revealed that while Westerners process insect sounds together with machinery and noise sounds in the music sphere (right sphere), Japanese perceive insect sounds in their language sphere (left sphere), meaning that Japanese people hear insect sounds as insect voices. Furthermore they hear sound of vowels, crying, laughing and sighing, as well as cries of insects and animals, waves, wind, rain, running water and even traditional Japanese musical instruments in the left brain, the same as the language. Westerners hear these sounds in the right brain together with music and noise.
This unique characteristic is only found among Japanese and Polynesian people. Chinese and Koreans shows the same pattern as Westerners. What is even more interesting is that Japanese people whose mother tongue is a foreign language follow the Western pattern, while foreigners whose first language is Japanese follow the Japanese pattern. This phenomenon is not a matter of hardware or the physical structure of the brain, but an issue of software, namely what language was learned first as a child.
Tsunoda's research gave me an insight and pushed my assumption about Noise Music further forward. Since Japanese people use their language brain (left sphere) when they perceive machinery or noise sound, it is reasonable to presume that they are able to find some meaning (or story) in Noise Music than Westerners. Therefore, it is likely that Japanese noise musicians are creating (or listening to) noise sound, as not irritating or uncomfortable, but story telling and meaningful.
ãDefinition of Noiseã
The Oxford dictionary says "noise is a sound, especially one that is loud, unpleasant or disturbing". A recent exploratory political document states that "noise is sound which has a negative effect on people (unwanted sound)". I, as a Japanese person, am a Noise Music listener, and I would say that these definitions of noise truly vary depending on each individual's opinion. In addition to this, according to Professor Tsunoda's theory, it depends on dominance of sphere of brain, when the sounds are processed.
In the past, the point of disagreement has been between dissonance and consonance, it will be, in the immediate future, between noise and so-called musical sounds
(John Cage) (*2)
There is no difference between noise and music in my work. I have no idea what you term "music" and "noise". It's different depending on each person. If "noise" means something uncomfortable sound, then pop music is noise to me.
(Merzbow)
ãOnkyoã
At this point the question can be asked - Where is Japanese Noise Music heading to? The fate of Japanese noise might lie in silence, or close to it, in Onkyo. Electronic musicians have, in Japan and Europe, in particular, moved on to experiment with small microscopic sounds, and the use of silence as a compositional element (like the rest present but not utilized in written music, such as rests or pauses in music). Silence is used to a heighten effect, and is therefore a resource for many of harsh Noise Music.
Onkyo or Onkyokei is a form of free improvisation, emerging from Japan in the late 1990's. Onkyo, a Japanese word meaning "reverberation of sound", places much more emphasis on sound texture than on musical structure, distilling elements of techno, noise, and electronic music into a unique hybrid. It is typified by small and often quiet musical gestures, and liberal use of both electronics and silence.
(Wikipedia - Onkyokei)
It is characterized by small and often quiet sounds, and the liberal use of both electronics and silence. Prominent musicians known in this area of music include Toshimaru Nakamura, Sachiko M, Yoshihide Otomo and Taku Sugimoto.
ãSachiko Mã
Sachiko M has been active as a sampler player and was a member of Otomo Yoshihide's Ground Zero between 1994 and 1997. Early on in her career she was involved in the cut-up and plunderphonic (or plagiaristic) sampling movements. More recently she has concentrated on music made from sine waves. Her music style is often described as purely radical. Sachiko M's music leans toward removal of sound with machines feeding back on themselves, loops, waves and gaps altering.
Her album called 'Sine Wave Solo' was released under Amoebic in 1999. This album, consisting entirely of sine waves and has attracted a great deal of attention. 'Don't Ask' is the second track of the album. The piece start with tiny quiet dot sounds repeatedly played, having silence between each dot sounds. At 0:39, rhythmical sound wave is inserted and panned from right to left continuously and frequently. Low frequency sine waves comes in at 1:15 and covers up existing sounds. This new layer of low frequency sound is also panned from right to left rhythmically and
disappears at 1:50. A bleep like sine waves appears twice between 1:50 and 1:54. After hearing glitchy noises several times from 2:22, all the sounds stops suddenly at 2:34. Then, Low frequency sine wave is heard from 2:40 to 2:53. At the end, there are few tiny dot sounds placed in pattern, similar to the beginning of the piece. .
While Sachiko M established her position as a key person of Onkyo music, Ryoji Ikeda's achievement is as equally admirable as hers. As far as I am concerned, Ikeda's piece is genuinely worth looking at. There is a certain similarity in works of both artists, which is frequent usage of sine waves and careful use of silence. However, what makes Ikeda's work different from hers is the use of harsh noise in his composition. Both delicate quietness of Onkyo and harshness or intensity of Noise Music is harmonized within his works. His music style is unquestionably at the forefront of cutting edge noise.
ãTechnoise / Ryoji Ikedaã
Ryoji Ikeda was born in Gifu, Japan in 1966. He began his activity as a sound artist as well as DJ in 1990. In 1994 he started working as a composer for the multimedia art group called 'Dumb Type'. He now lives and works in New York. Ikeda's music is often harsh, featuring a lot of white noise and sine waves. His style of music could be described as minimal noise, glitch or Technoise (portmanteau of the words techno and noise.), although it sometimes shows similarities with other genres such as IDM. One of his works 'Matrix' won the Golden Nica Award in 2001.
'C3 circuit' is a third track recorded in an album called '0â', released under 'Touch Records', in 1998. Tiny dot sound (as similar as Sachiko M's 'Don't Ask') starts off the track. After having eleven repeats of the dot sounds, a short interruption of bleep sound appears. Just after that, pure white noise comes in, to the right side first, and then left side immediately afterwards. All this happens in the space of 7 seconds. The whole structure of this piece is basically 6 loops of this composition. The total length of the piece is 0:49. However, in loops of an even numbers (2, 4 and 6), pure white noise comes in to the right side and left side at the same time.
ãGlitch Musicã
Although I said that the fate of Japanese noise might lie in Onkyo in an earlier chapter, there is one more type of music which could be associated with the future of Noise Music. It is Glitch Music. Constructed from digital debris - errors, processing of normally extraneous sounds. Many glitch strategies involves a misuse, reissue or abuse of instruments, machinery, contexts and practices. Such improper use is part of the failure that constitutes noise (recalling that this failure is only 'failure' - (it is not a judgment about badness).
Glitch (also known as clicks and cuts from a representative compilation series by the German record label Mille Plateaux) is a genre of electronic music that became popular in the late 1990s with the increasing use of digital signal processing, particularly on computers. The origins of glitch music are divided from the failure of digital technology. The effects of failure in technology, such as bugs, crashes, system errors, hardware noise, skipping and audio distortion, can be captured on computers and provide the basic building blocks of Glitch music.
(Wikipedia)
ãYasunao Toneã
Yasunao Tone was born in Tokyo, Japan in 1935, and he graduated from Chiba Japanese National University in 1957, majoring in Japanese literature. He has been active in the Fluxus movement since 1962 and moved to the United States in 1972. He is known as a significant figure in both avant-garde art and music scene. Tone has worked in many different types of media, creating pieces for electronics, computer systems, film, radio and television, as well as environmental art. Since 1976, Tone has been designing musical piece as a compound of cultural studies, which is based on idea of post-structuralism and audio visual materials. For instance, he converted texts of numerous series of Japanese ancient story to digital data, and then created a piece of music from it. He is known mostly for this unconventional techniques that he applies to his musical work. Tone began manipulating compact discs to achieve uniquely mangled sounds in the early 1980's. For his 1985 album, 'Solo for the Wounded CD', he manipulated and attached scotch tape to audio CDs and then put that into the CD player. Later, he took the glitch noises that a CD player was able to play. Tone has stated that the error-correction functionality of modern CD players has made it difficult to continue applying this technique.
Part l is the first track of Album called 'Solo For Wounded CD', released under the 'Tzadik' in 1997. The total length of the piece is 14:18. His noise sound is so distinctive that it can be identified as soon as it is heard. This track sounds like a mere recording of tests of CD player (of course, as a noise generator) rather than strictly composed Noise Music (such as Ryoji Ikeda's piece). Adjectives such as harsh. bleep, high pitched, and machinery can be used to describe several main types of noise sounds used in this piece. With regards to timbre, there is always a bit of changes
going on. In my assumption he was either controlling or manipulating glitch noise sound, generated by CD player, whilst he was recording. His unique approach of using prepared CD as a noise generator comes to the conclusion of authentic experimentation of timbre of glitch noise.
ãConclusionã
The Japanese Noise Music scene is defined by an absolute sense of musical freedom, which derives from the aesthetics of traditional Japanese music. Consequently it is extremely diverse and unique. The speed of rapid growth of Japanese Noise Music, cannot be ignored and, without any doubt, will continue to accelerate.
According to the evolution of modern technology, many noise musicians may switch their creation method from analogue to digital. Things like collecting a large amount of analogue equipment and the use of materials such as metal or junk electronics may well be considered as old-fashioned.
I foresee the future of noise as multi combinations of different types of Noise Music - those which have the intensity and density of harsh noise, the subtleness of Onkyo and the originality of Glitch.
- Notes -
(*1) Meiji shinkyoku
Meiji - The Meiji era, from 1868 to 1912 in Japan.
shinkyoku - Japanese word meaning "new music"
(*2) I would rather change this statement to
In the past, the point of disagreement has been between noise and so-called musical sounds, however it will be, in the immediate future, dependent upon how you perceive the sounds you hear..
- Bibliography -
Paul Hegarty, Noise/Music A History (New York/London, The Continuum International Publishing Groupe, 2007)
Atsushi Sasaki, Techno / Logical / Music Theory -from Stockhausen to Onkyokei- (Tokyo, Rittor Music, 2005)
-------, Avant Music Guide (Tokyo, Sakuhinsha, 1999)
Yuko China, Understanding Japanese Music (Tokyo, Ongakunotomo, 2005)
Humio Koizumi, Sound Of Japan (Tokyo, Heibonsha, 1994)
Humio Koizumi/Ikuma Dan, Re-discovery Of Japanese Music (Tokyo, Heibonsha, 2001)
Tadanobu Kakuta, The Japanese Brain -function of brain and culture of east and west- (Tokyo, Taishukan, 1978)
- Discography -
Alec Empire, The Destroyer (Digital Hardcore Recordings, 1996)
Alec Empire vs. Merzbow, Live CBGB's NYC 1998 (Digital Hardcore Recordings, 2003)
Aube, Metal De Metal (Manifold Records, 1996)
Aube, Flush (Iris Light Records, 1997)
Boris with Merzbow, Megaonte (Inoxia Records, 2002)
Boris With Merzbow, Sun Baked Snow Cave (Double H Nise Industries, Hydra Head Records, 2005)
Boris with Merzbow, 05092001 (Inoxia Records, 2005)
Burkhard / Taku Sugimoto, An Old-Fashioned Duet (Slub Music, 2002)
Consumer Electronics / Merzbow, Horn of the Goat (Freek Records, 1995)
Dead Machines & John Wiese, Falling Lights (Recoco Records, 2005)
Ground Zero, Ground Zero Revolutionary Pekinese Opera (Ver 1.28) (ReR Megacorp, 1996)
Guilty Connector / Phroq, Snowfall Is Next Door (Gameboy Records, 2002)
Guilty Connector, Mother's Bloated Corpse (Utsu Tapes, 2003)
Guilty Connector, Beats, Noise, And Life. (Planet Mu, 2006)
Hanatarash, Hanatarash (Alchemy Records, 1985)
Hanatarash, 2 (Alchemy Records, 1988)
Hijokaidan, Shumatsu Shorijo (Alchemy Records, 2000)
Iannis Xenakis, Chamber Music 1955-1990 (Montaigne, 2000)
Iannis Xenakis, Music For Strings (Mode, 2005)
Incapacitants, Operorue (Kubitsuri Tapes, 1995)
Incapacitants, Asset Without Liability (Bulb Records, 1996)
Jamie Soft / Merzbow, Merzdub (Caminante Recordings, 2006)
Jim O'Rourke I'm Happy, And I'm Singing, And A 1,2,3,4 (Mego, 2001)
John Cage, Sonatas And Interludes For Prepared Piano (Naxos, 1999)
John Cage, Music For Prepared Piano (Naxos, 2001)
John Cage. Music Of Changes (Hat Hut Records, 2001)
John Wiese, Magical Crystal Blah (Helicopter, Kitty Play Records, 2004)
John Wiese, Arrhythmia Wave Burst And Panner Crash (Helicopter, 2005)
John Wiese, Soft Punk (Troubleman Unlimited, 2007)
Keiji Haino, Nijiumu (P.S.F. Records, 1990)
Keiji Haino, Watashi Dake (P.S.F. Records, 1993)
Keiji Haino, Black Blues (Violent Version) (Les Disques Du Soleil Et De L'Acier, 2004)
Keiji Haino, Black Blues (Soft Version) (Les Disques Du Soleil Et De L'Acier, 2004)
Keiji Haino, Uchu Ni Karami Tsuiteiru Waga Itami (P.S.F. Records, 2005)
Keiji Haino & Thurston Moore, Victoriaville (Unkwon, Unkwon)
Keiji Haino with Boris, Black: Implication Flooding (Inoxia Records)
Kerlheinz Stockhausen, Mikrophonie l / Mikrophonie ll / Telemusik (Stockhausen-Verlag, 1995)
Kim Cascone, The Astrum Argentum (Musica Excentrica, 2007)
K.K. Null & Jim O'Rourke, New Kind Of Water (Charnel Music, 1992)
K.K. Null & Z'EV, Artificial Life (Crippled Intellect Productions, 2005)
K.K.Null, Ergosphere (Blossoming Noise, 2006)
Masonna, Inner Mind Mystique (Release Entertainment, 1996)
Masonna, Sonic Devil (Pinch A Loaf Productions)
Masami Akita & Russell Haswell, Satanstornade (Warp Records, 2002)
Merzbow, Collaborative (Extreme, 1988)
Merzbow, Great American Nude / Crash For Hi-Fi (Alchemy Records, 1991)
Merzbow, Music For Bondage Performance (Extreme, 1991)
Merzbow, Batztoutai With Material Gadgets (RRRecords, 1994)
Merzbow / Christoph Heemann, Sleeper Awakes On The Edge Of The Abyss (Streamline, 1993)
Merzbow, Noisembryo (The Releasing Eskimo, 1994)
Merzbow, Venerology (Release Entertainment, 1994)
Merzbow, Music for Bondage Performance 2 (Extreme, 1998)
Merzbow, Rainbow Electronics 2 (Dexter's Cigar, 1996)
Merzbow, Pulse Demon (Release Entertainment, 1996)
Merzbow, Hybrid Noisebloom (Vinyl Communications, 1997)
Merzbow, 1930 (Tzadik, 1998)
Merzbow, Aqua Necromancer (Alien8 Recordings, 1998)
Merzbow & Ladybird, Balance (Human Wrechords, 1998)
Merzbow, Door Open At 8 am (Alien8 Recordings, 1999)
Merzbow, Merzbeat (Important Records, 2002)
Merzbow, A Taste of (Mego, 2002)
Merzbow, Amlux (Important Records, 2002)
Merzbow, Scsi Duck (Fourth Dimension Records, 2003)
Merzbow, Animal Magnetism (Alien8 Recordings, 2003)
Merzbow / Pan Sonic, V (Les Disques Victo, 2003)
Merzbow, Merzbird (Important Records, 2004)
Merzbow / Kim Cascone, Rondo/7Phases/Blowback (Sub Rosa, 2004)
Merzbow & John Wiese, Free Piano (Misanthropic Agents, Helicopter, 2005)
Merzbow & John Wiese, Multiplication (Misanthropic Agents, 2005)
Merzbow, Sphere (Tzadik, 2005)
Otomo Yoshihide, Blue (Headz, 2002)
Pain Jerk, Retrogress (Self Abuse Records, 1995)
Pain Jerk, Great Invisible Crashing (Betley Welcomes Careful Drivers)
Pan Sonic, A (Mute Corporation, 1999)
Pan Sonic, Kesto (234.48:4) (Mute Corporation, 2004)
Pan Sonic, Katodivaihe / Cathodephase (Blast First Petite, 2007)
Peter Brotzman - Haino Keiji, Evolving Blush Or Driving Original Sin (P.S.F. Records, 1996)
Peter Brotzman / Keiji Haino / Shoji Hano, Shadows (DIW Records, 2000)
Philip Samartzis + Sachiko M, Artefact (Dorodo, 2002)
Russell Haswell, Live Salvage 1997-2000 (Mego, 2001)
Ryoji Ikeda, 1000 Fragments (CCI Recordings, 1995)
Ryoji Ikeda, +/- (Touch, 1996)
Ryoji Ikeda, 0â (Touch, 1998)
Ryoji Ikeda, Time And Space (Staalplaat, 2000)
Ryoji Ikeda, Matrix (Touch, 2001)
Ryoji Ikeda, Op. (Touch, 2002)
Sachiko M, Sine Wave Solo (Amoebic, 1999)
Sachiko M, Derive (Noise Asia, 2003)
Sachiko M & Sean Meehan, Untitled (Not on Label, 2002)
Solmania, Evil Bed (Alchemy Records, 1996)
Taku Sugimoto, Opposite (Hat Hut Records, 1998)
Taku Sugimoto, Chamber Music (Bottrop-Boy, 2003)
Toshimaru Nakamura & Sachiko M, Un (Meme, 1998)
Toshimaru Nakamura, No-Input Mixing Board (Zero Gravity, 2000)
Toshimaru Nakamura, No-Input Mixing Borad [3] (Alcohol, 2003)
Various, Extreme Music From Japan (Susan Lawly, 1994)
Various, Ikebana Merzbow's Amlux Rebuilt, Reused and Recycled (Important Records, 2003)
Violent Onsen Geisha, Nation Of Rhythm Slaves, (Rail Recordings, 1996)
Yasunao Tone, Solo For Wounded CD (Tzadik, 1997)
Yasunao Tone, Geography And Music (Ashiya City Of Art & History, 2001)
Yasunao Tone, Wounded Man'Yo #38-9/2001, (Alku, 2002)
Yasunao Tone & Hecker, Palimpsest (Mego, 2004)
- Webography -
(EN)
http://en.wikipedia.org/wiki/Noise_music
http://en.wikipedia.org/wiki/Merzbow
http://en.wikipedia.org/wiki/Japanese_music
http://en.wikipedia.org/wiki/Japanoise
http://en.wikipedia.org/wiki/Haru_no_Umi
http://en.wikipedia.org/wiki/Glitch_music
http://en.wikipedia.org/wiki/Michio_Miyagi
http://en.wikipedia.org/wiki/Sachiko_M
http://en.wikipedia.org/wiki/Harsh_noise
http://en.wikipedia.org/wiki/Yasunao_Tone
http://en.wikipedia.org/wiki/Lou_Reed
http://en.wikipedia.org/wiki/Metal_Machine_Music
http://en.wikipedia.org/wiki/Ryoji_Ikeda
http://en.wikipedia.org/wiki/Onkyokei
http://en.wikipedia.org/wiki/Aesthetics
http://en.wikipedia.org/wiki/Lateralization_of_brain_function
http://en.wikipedia.org/wiki/Bubble_economy
http://en.wikipedia.org/wiki/Student_movement
http://en.wikipedia.org/wiki/Japanese_asset_price_bubble
http://www.ubu.com/papers/noise.html
http://www.ubu.com/papers/russolo.html
http://www.ctheory.net/articles.aspx?id=314
http://www.noblepr.co.uk/Press_Releases/lou_reed/metal_machine_music.htm
http://www2s.biglobe.ne.jp/~nippon/file/jog240e.html
http://search.japantimes.co.jp/cgi-bin/fl20060627jk.html
http://www.forma.org.uk/artists/represented/ryoji_ikeda_biog.html
http://www.mustrad.org.uk/articles/japan.htm#aesthetic
http://www.funderstanding.com/right_left_brain.cfm
http://www.dotdotdotmusic.com/hegarty8.html
http://www.japanimprov.com/sachikom/
http://www.lovely.com/bios/tone.html
http://www.scaruffi.com/avant/tone.html
http://www.spiderbytes.com/ambientrance/ree-mmm.htm
http://www.encyclopedia.com/doc/1G1-100877433.html
http://www.komuso.com/people/Miyagi_Michio.html
http://www.dustedmagazine.com/reviews/518
http://www.merzbau.org/Schwitters.html
http://www.lewrockwell.com/thornton/thornton24.html
http://www.ucsc.edu/oncampus/currents/97-10-13/hutchison.htm
http://joelswagman.blogspot.com/2008/01/tombo-times-japanese-student-movement.html
(JP)
http://ja.wikipedia.org/wiki/%E3%83%8E%E3%82%A4%E3%82%BA%E3%83%9F%E3%83%A5%E3%83%BC%E3%82%B8%E3%83%83%E3%82%AF
http://ja.wikipedia.org/wiki/%E3%82%B8%E3%83%A3%E3%83%91%E3%83%8E%E3%82%A4%E3%82%BA
http://ja.wikipedia.org/wiki/%E3%83%A1%E3%83%AB%E3%83%84%E3%83%90%E3%82%A6
http://ja.wikipedia.org/wiki/%E5%AE%AE%E5%9F%8E%E9%81%93%E9%9B%84
http://ja.wikipedia.org/wiki/%E7%84%A1%E9%9F%B3
http://ja.wikipedia.org/wiki/1970%E5%B9%B4%E4%BB%A3
http://ja.wikipedia.org/wiki/1980%E5%B9%B4%E4%BB%A3
http://ja.wikipedia.org/wiki/%E3%83%90%E3%83%96%E3%83%AB%E7%B5%8C%E6%B8%88
http://ja.wikipedia.org/wiki/%E5%AD%A6%E7%94%9F%E9%81%8B%E5%8B%95
http://ja.wikipedia.org/wiki/1990%E5%B9%B4%E4%BB%A3
http://www.hana.or.jp/hana/ikata/Music/JPtone.html
http://www2.chokai.ne.jp/~assoonas/UC210.HTML
http://www.horagai.com/www/salon/edit/ed2007c.htm
http://e-koe.jp/n10.htm
http://boo.arinecoinco.com/ozawa_takemitu3.htm
http://boo.arinecoinco.com/ozawa_takemitu1.htm
http://www.doblog.com/weblog/myblog/19256?TYPE=1&genreid=48024
http://hblo.bblog.jp/daily/2007-09-12/
http://hblo.bblog.jp/entry/249126/
http://www.faderbyheadz.com/a-Site/column/column/laptop.html
http://www.miyagikai.gr.jp/index.html
http://www.kanshin.jp/dailyelectronika/index.php3?mode=keyword&id=336899
http://www.variations.jp/main/02artist/YasunaoTone/index.html
http://homepage.mac.com/ujin/phour/exhibitions+sachiko+m.html
http://www.nihon-ongaku.com/
http://www.komuso.com/albums/Haru_no_Umi_-_Koto_no_Meikyoku.html
http://tokyo.secret.jp/80s/index-j-noiz.html
http://blog.donews.com/schizoidman/articles/116735.aspx
Word Count : 5182
Quote JP
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- 19-t
We Are Not Anti-Pop.
- Coco Chanel
Fashion Is Made To Become Unfashionable.
- Graham Chedd ãSound -Its Uses and Abuses in Today's Technology-ã ã
"If a tree falls in the forest, and no one is there to hear it, will there be sound?" This was one of the favourite questions discussed and debated by scientists in the 18th century; its fascination lay in the fact that it could be answered, with equal validity, with a yes or a no. This is because "sound" is one of the those unfortunate words that has acquired two meanings, and the answer to the 18th-century riddle depends upon whether sound is regarded as a physical phenomenon (a vibration transmitted through the air), or as a sensation inside the mind of a listener. The first is a cause, the second an effect; the first is an objective definition, the second subjective.
- John Cage ãSilence: Lectures and Writingsã
WILL BE EXPLORED. WHEREAS, IN THE PAST, THE POINT OF DISAGREEMENT HAS BEEN BETWEEN DIS-SONANCE AND CONSONANCE, IT WILL BE, IN THE IMMEDIATE FUTURE, BETWEEN NOISE AND SO-CALLED MUSICAL SOUNDS.
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- Lana Del Rey ãUltraviolenceã
He used to call me D.N. - that stood for Deadly Nightshade cause I was filled with passion but blessed with beauty and rage