情報科学芸術大学院大学紀要第7巻

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ISSN 1884-9539

情報科学芸術大学院大学紀要

Journal of Institute of Advanced Media Arts and Sciences

第 7 巻・2015 年

Vol.7, 2015

情報科学芸術大学院大学紀要第 7巻・２０１ 5年

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Journal of Institute of Advanced Media Arts and Sciences

7 2015

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20 20

IAMAS

Environment, communication and IAMAS

SUZUKI Nobuya

New Challenges in Media Art Education Christa Sommerer & Laurent Mignonneau

Learning through doing

YAMAMOTO Shiro

ICC 20 (tentative)

NTT [ICC]

HATANAKA Minoru (Senior curator, NTT InterCommunication Center)

1980-2015:

Art and Technology in 1980-2015: Text mining and visualization of proceedings of Ars Electronica Festival

( Qosmo) TOKUI Nao (Qosmo, Inc.)

Beginning of the “Real” Internet era

SEMBO Kensuke exonemo

Mobile Laboratory

MOBIUM / NODE

KAWAMURA Yosuke (MOBIUM /NODE)

20

The influence of cultural policy on the new media art in Japan

HIROTA Fumi (Asia Center, Japan Foundation)

7 13 15 19 25 31 35 41

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IAMAS

I could believe if I’m in IAMAS (tentative)

MIHARA Soichiro

heamas no.1: In this torn apart age, remaining a school that redefines art is essential

MIWA Masahiro, MATSUI Shigeru, JO Kazuhiro, TAKAWO Shunsuke

heamas no.2: On the extensions of the grooves of reverberating electrical signals

KOBAYASHI Shigeru, MATSUI Shigeru, JO Kazuhiro, TAKAWO Shunsuke

Expressions across the Boundary between Artist and Activist

NISHIO Yoshinari

Thoughts led by Nishio’s Lecture

KANAYAMA Tomoko

In case of NISHIO Yoshinari -- Rereading : The Artist as Ethnographer

MATSUI Shigeru

3D

Interactive art spatio-temporal archive that utilizes 3D scanning technology

OGAWA Keisuke, TANAKA Shougo, AKABANE Kyo

Mino House Project-Activities for three years, and then

KANAYAMA Tomoko 47 49 63 79 99 105 113 119

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5

Somatics of Rakugo(5) “Kajikazawa” or Possibility of Rakugo without laugh

KOBAYASHI masahiro

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20

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New Challenges in Media Art

Education Interface Culture

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SUZUKI Nobuya

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New Challenges in Media Art Education

Christa Sommerer & Laurent Mignonneau

IAMAS is a pioneering educational center that educates scholars in media art and media technology since 1997. In the early 1990ies only very few people believed in digital art, but now 20 years later media art is everywhere and media technology has become ubiquitous.

These days it has become the norm to have almost all facets of our lives augmented by digital technologies. From smart phones, smart cloths, smart cities, ubiquitous computing devices, VR and AR technologies, media devices and services are part of many aspects of our lives. Being constantly connected is the norm and the amount of data we all generate is growing exponentially. Peter Weibel

says that we as humans are in fact becoming data bodies1_{. Our daily life activities become more and}

more quantified, measured and commercially exploited. The Quantified Self Movement, data driven economies and Industries 2.0 are just a few keywords of what will come in the future. There will be significant societal changes when we all need to adapt to these new services and devices. Information overload and constant availability already now lead to a post-media world where

nothing is ever finished and “update is the default setting.” 2. According to Herlander Elias we live

in a screen civilization that is now so accustomed to interaction and connectivity that interfaces have become invisible and we do not even notice them.

But what do all these changes mean for artistic creativity and how does this impact media art education ? From our point of view the times of big technological breakthroughs seem to be over and a certain media saturation has becomes noticeable. While pioneers of media art, such as Paul DeMarinis, Peter Weibel or Lynn Hershman, and others have always critically reflected on the effects of digital technologies onto our society, young media artists now feel the need to reflect more about the effects of digital technologies onto their lives.

In media art education it has therefore become increasingly important to provide young media artists and technologists with know-how about the past techno-art movements such as Futurism, E.A.T, Gutai, Kinetic Art, Cybernetic Art and others. It is important for them to see the current technological developments on a larger time scale. It will help them to restate current artistic-scientific questions with a profound knowledge about the past. Now that the analog and the digital worlds increasingly merge and media art and contemporary art steadily approach each other, a profound education about the history of media art and its impact on today’s media society will be necessary. It will also be important to build bridges to contemporary art, which has remained somewhat disconnected from digital art until now. There is a great opportunity arising right now, as many creative disciplines (such as ceramics, fashion, industrial design, architecture and others) start

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New Challenges in Media Art Education

to use computers and discover the long tradition of digital art. This is also facilitated by the fact that digital technologies, programming and interface design are now becoming more accessible through increased courses and programs at universities, academies, online classes, workshops and the maker communities.

Since 10 years we are heading the Interface Cultures department at the University of Art and Design in Linz Austria now, our program was in fact very inspired by the IAMAS Institute of Media Art and Sciences in Gifu Japan. Since 8 years we have a very active student exchange program with IAMAS. So far around 20 students on both sides have used this excellent opportunity to engage with media art education in the other respective country, learn new methods and create networks in Japan and Austria. Many of our Interface Cultures students return from IAMAS with big enthusiasm and inspiration. We would like to thank all the professors and staff at IAMAS for the unique opportunity they provide to our students though personal advice, support and friendship. We look forward to keep reflecting and shaping media art education together with IAMAS and intensify the Japan-Austria exchange even further.

1 _{Weibel, Peter (2015). Die Transzendierung des Menschen durch die Menschen- Globale Gespräch,}

Kunstforum International, Vol, 237

2 _{Elias, Herlander (2012). Post Web-The Continuous Geography of Digital Media, Lisbon:}

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Learning through doing

YAMAMOTO Shiro

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1980-2015:

Art and Technology in 1980-2015: Text mining and visualization of

proceedings of Ars Electronica Festival

Qosmo

TOKUI Nao

Qosmo, Inc.

Keyword Data Visualization, Text Mining, Ars Electronica

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Ars Electronica web PDF

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SEMBO Kensuke

exonemo

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Mobile Laboratory

MOBIUM / NODE

KAWAMURA Yosuke (MOBIUM / NODE)

Abstract IAMAS consists of two schools: the Institute of Advanced Media Arts and Sciences and the International Academy of Media Arts and Sciences. The Institute is solely a graduate school (for obtaining a Masters Degree) and has one faculty and one course, namely Media Creations. There are 20 students in each year of the course. The Academy is a vocational college accepting 30 students each year who must have at least graduated from high school. The Academy was founded in 1996 and the Institute was opened in 2001. Both schools were established by Gifu Prefecture as part of a strategy to promote advanced information technology and the culture that develops from this. The schools' activities are closely linked with Softopia Japan, the hub of the Prefecture's information industry.

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20 The influence of cultural policy on the new media art in Japan

HIROTA Fumi (Asia Center, Japan Foundation)

Keyword

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MIHARA Soichiro

IAMAS IAMAS IAMAS IAMAS

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heamas no.1: In this torn apart age, remaining a school that

redefines art is essential

MIWA Masahiro, MATSUI Shigeru, JO Kazuhiro, TAKAWO Shunsuke

IAMAS 20 20 Web 2.0 10 YouTube 20 IAMAS 2015 7 16 IAMAS / DSP 40

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heamas no.2: On the extensions of the grooves of reverberating

electrical signals

KOBAYASHI Shigeru, MATSUI Shigeru, JO Kazuhiro, TAKAWO Shunsuke

2015 9 15 IAMAS Gainer 20 IAMAS IAMAS 2 IAMAS 20

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Interactions 21, 6 (October 2014), 64-67. DOI=http://dx.doi.org/10.1145/2674964

18 Creative Fab Project

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Mino House Project-Activities for three years, and then

KANAYAMA Tomoko

Abstract The MINO-house project has been a three-year-long project so far. This article reviews the project in a chronological way and leads to a significance of this project in the MINO community in Gifu prefecture. The project will seek a future looking prosperity of the MINO community based on the notion of public space to live a people’s life and/or public common to share among people in the community.

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KOBAYASHI Masahiro

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7 2015 ISSN 1884-9539 2016 3 15 503-0006 4-1-7 Tel.0584-75-6600 Fax.0584-75-6637 E-mail: [email protected] URL: http://www.iamas.ac.jp/

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Form Size Contents

Perfect Binding 210mm x 297mm

Research Notes, Critical Essays

研究論文・報告等を掲載した定期刊行物です。本学の研究を学術横

断的な研究領域として認識するばかりでなく、メディア表現研究の体

系を目指した多様なアプローチを紹介しています。

形態

サイズ

コンテンツ

無線綴じ製本

210mm x 297mm

研究ノート、評論

An IAMAS periodical containing research papers and reports by writers associated with the school. Through these Journals, we recognize our school's research as an interdisciplinary undertaking and introduce a variety of approaches through which we aim to build a system of media creation research.

情報科学芸術大学院大学紀要 第7巻

ISSN 1884-9539