Lawrence English   ローレンス・イングリッシュ

ローレンス・イングリッシュは、オーストラリアを拠点に活動するアーティスト、作曲家、キュレーターである。さまざまな美学的探求にまたがる活動の中で、彼の作品は知覚の政治性を探り、フィールド、主体性、記憶に関する問いを投げかけている。

イングリッシュは、身体的な強度を伴うライブ・パフォーマンスやサイトスペシフィックなインスタレーションなど、多様なアプローチを用いながら、聴くこと、場所、そして身体性との関係を観客に再考させる作品を制作している。過去10年にわたり、彼は音を身体的な経験のためのメディアとして扱ってきた。そして、音が持つ変容的で感覚的、さらには越境的な可能性への関心を共有することに力を注いでいる。

彼はシドニー・マイヤー・クリエイティブ・フェローに選出され、2017年には博士号取得に伴い優秀博士論文賞を受賞している。また、ロサンゼルスでのパブリックアート作品《Seirá》において、マイク・ケリー財団からの支援を受けている。2022年には、インスティテュート・オブ・モダン・アートより年間顕彰者（Annual Honouree）に選ばれた。

また、世界中の革新的なアーティストたちのプラットフォームである音楽レーベルROOM40の運営でも知られている。

Lawrence English is an artist, composer and curator based in Australia. Working across an array of aesthetic investigations, English’s work explores the politics of perception and prompts questions of field, agency and memory. English utilises a variety of approaches including visceral live performance and site-specific installation to create work that invites audiences to consider their relationship to listening, place and embodiment. Over the past decade he has worked with sound as a medium for embodied experience and is determined to share his interests in the transformative and sensorial transgressive possibilities of sound. He is a Sidney Myer Creative fellow, was awarded an outstanding doctorial thesis award in conjunction with his PhD in 2017 and has been supported by the Mike Kelley Foundation for his public artwork project in Los Angeles, Seirá. In 2022, he has been appointed the Annual Honouree by the Institute Of Modern Art.

https://www.lawrenceenglish.com/

Takashi Makino    牧野貴

2001年に日本大学芸術学部映画学科撮影・録音コースを卒業後、渡英。ブラザーズ・クエイのアトリエコニンクを訪問し、映像、照明、音楽に関しての示唆を受ける。その後、カラーリストとして、多くの劇映画やCF、ミュージックビデオ等の色彩を担当し、フィルム及びビデオに関する技術を高めながら、2004年より自身の作品上映を開始した。自然現象や人間、街など既成のオブジェクトを、フィルムやビデオなど様々なフォーマットで撮影する。編集段階において重層化して構築し、無限に広がり続けるような極めて有機的で想像的な牧野の映像作品は、映画界、美術界共に国際的に高く評価されている。現在は日本を拠点に、映画、音楽、インスタレーション、オーディオビジュアルパフォーマンスなどを世界各地で発表している。2011年にはロッテルダム国際映画祭短編部門でグランプリにあたるタイガーアワードを受賞した他、ハンブルグ国際短編映画祭、モスクワ国際実験映画祭、25FPSクロアチア国際実験映画祭でもグランプリを獲得 (全て日本人初) するなど、国際映画祭での受賞歴は幾多にも及ぶ。映画作品はこれまで120都市以上で上映されており、近年では、ドクメンタ14 (アテネ)、サンフランシスコMOMA、MOMAPS1、ニューミュージアム、ニューヨーク映画祭 (全てアメリカ)、ホワイトチャペルギャラリー (イギリス)、韓国映像資料院 (韓国)、オーストリア映画博物館 (ウィーン)、BFI IMAX シアター (イギリス) などでも上映された。

The history of cinema has been considered a separate entity to that of other art forms, primarily due to its connections with commerce. My approach to film counters this for I consider film to have a place amongst the other arts. Nevertheless, film does have qualities unique to itself, particularly in regard to its treatment of time and its relationship with an audience. The time a gallery visitor spends looking at a painting or sculpture is up to them; a cinema audience, on the other hand, is bound by the film’s own duration. While the audience experiences the film’s visual and sonic display, nonetheless, they are free to dwell into their own imagination. What fascinates me most about film expression is the potential for what is presented on the screen to collide with each individual viewer’s emotional landscape, and the new ‘image’ created inside the viewer’s mind resulting from this collision.

Like news reports of wartime Japan, films with stories or a precise structure throw images at an audience with their meanings already intact. Rather than making films with my own imposed structure, my method is to abandon structure altogether or, in other words, layer images that once embodied meaning on top of one another until they become unintelligible. I aim for the resulting composite ‘image’ to be like a nameless animate being with a limitless capacity for meanings, so that my films become triggers for an audience to venture into their own imagination. This desire is embodied in the title of my 2011 film Generator.

In commercial films, the techniques of superimposition and multiple exposure are tired signifiers to indicate a transition between scenes or a departure into a dream state. However, I see new potentials in these techniques. I have developed an alternative technique for multiple exposure that practices the principles of the collages made by the Surrealists of 1920s Paris. I believe people do not come up with things out of the blue but, instead, combine different things in their own ways to arrive at something new – collages and multiple exposure as techniques, for me, artistically deal with this very notion. In the layering of existing matter, my filmmaking method is to take images into territory even I cannot foresee and allow for them to flourish in their newfound environment. My approach to sound similarly rejects synchronisation in favour of inserting audio and music seemingly unrelated to the images. My collaborations with musicians from overseas have been, in one sense, a way to stage such unforeseeable encounters.

https://makinotakashi.net/

Carl Stone   カール・ストーン

カールストーンは現在のコンピュータミュージックの先駆者の一人であり、ヴィレッジボイス誌は『サンプリングの王者』『現在のアメリカで最も優れた作曲家の一人』と賞賛している。彼は1986年からライブパフォーマンスでコンピューターを使用している。ストーンはロサンジェルスで生まれ、現在はロサンゼルスと日本を拠点に活躍している。カリフォルニア芸術大学で、Morton Subotnick, James Tenneyに師事し、1972年から電子アコースティック音楽の作曲を始めたが、この分野は殆ど彼の独壇場である。その作品は、アメリカ・カナダ・ヨーロッパ・アジア・オーストラリア・南米・北東アフリカなどで演奏されており、日本の中京大学工学部メディア工学科の教授を２２年にわたり務めあげ、現在は演奏、作曲、ツアーを勢力的におこない、世界中で活躍している。日本のアーティストとコラボレーションは大友良英，高橋悠治、清水靖晃、田中悠美子、中村としまる、内橋和久、赤いヒル女、池田謙、桜井真樹子、高橋アキ、ASUNA、他。

Carl Stone is one of the pioneers of live computer music, and has used computers in live performance since 1986. He has been hailed by the Village Voice as “the king of sampling.” and “one of the best composers living in (the USA) today.”. RELIX has written that “Stone makes music that can hit your ear holes like a DMT flash.” He was born in California and now divides his time between LA and Japan. He studied composition at the California Institute of the Arts with Morton Subotnick and James Tenney and has composed electro-acoustic music almost exclusively since 1972. His works have been performed in the U.S., Canada, Europe, Asia, Australia, South America and the Near East. In addition to his schedule of performance, composition and touring, he is the emeritus professor in the Department of Media Engineering at Chukyo University in Japan.

A winner of numerous awards for his compositions, including the Freeman Award for the work Hop Ken, Carl Stone is also the recipient of grants from the National Endowment for the Arts, the Rockefeller Foundation and the Foundation for Performance Arts. His 3-LP release “Electronic Music from the Seventies and Eighties” on the Unseen Worlds label placed #1 in The Wire Magazine’s “Best of 100” 2016 Archival category. Tthe follow up release the next year ranked #3.

In 1984 he was commissioned to compose a new work premiered as part of the Olympic Arts Festival in Los Angeles. His music was selected by the dancer/choreographer Bill T. Jones for the production 1-2-3. in that same year. In 1989 he resided for 6 months in Japan under a grant from the Asian Cultural Council and in that same year, The Museum of Contemporary Art, Los Angeles commissioned a new work, Thonburi as part of the radio series “Territory of Art”. In 1990 he was commissioned to create music for a 60-minute program for ZDF Television in West Germany entitled Made in Hollywood. In 1991 he received separate commissions from Michiko Akao (She Gol Jib, for traditional Japanese flute and electronics), Sumire Yoshihara (for percussionist and electronics) and Sony PCL (Recurring Cosmos, for High Definition video and electronics), which was awarded special honors at the International Electric Cinema Festival in Switzerland in 1991. In 1993, he was commissioned by the Paul Dresher Ensemble to create a new work, Ruen Pair, with funds from the Meet the Composer/Reader’s Digest Commissioning Program. In 1994 he was commissioned by the Strings Plus Festival, Kobe to create Mae Ploy, for string quartet and electronics. In that same year he also created Banh Mi So, for ondes martenot and piano, at the request of Takashi Harada and Aki Takahashi. In 1995, he was commissioned by NTT/Japan to create a new work for the internet , Yam Vun Sen, as part of IC95. In 1996, with support from the Rockefeller Foundation, he created music for The Noh Project, a collaboration with choreographer June Watanabe and Noh master Anshin Uchida. In 1997 he was commissioned by Bay Area Pianists and Cal Performances to create a new work, Sa Rit Gol, for disklavier and pianist, as part of the Henry Cowell Centennial Celebration at UC Berkeley. Other festival performances in 1997 included Other Minds (San Francisco) and TonArt (Bern). In 1999 he was invited as Scholar-in-Residence at the Rockefeller Foundation Bellagio Study and Conference Center. In 2001 he served as Artist-in-Residence at the International Academy of Media Arts and Sciences (IAMAS) in Japan, and in that same year he joined the faculty of Chukyo University’s School of Cognitive and Computer Sciences.In 20011 he was named an Artist Fellow by the Civitella Ranieri Foundation in Italy.

Recordings of Carl Stone’s music has been released on New Albion, CBS Sony, Toshiba-EMI, Unseen Worlds, EAM Discs, Wizard Records, Trigram, t:me recordings, New Tone/Robi Droli, and various other labels.

Carl Stone’s music has been used by numerous theater directors and choreographers including Hiroshi Koike, Akira Kasai, Bill T. Jones, Setsuko Yamada, Ping Chong, June Watanabe, Kuniko Kisanuki, Rudy Perez, Hae Kyung Lee, and Blondell Cummings. Musical collaborations include those with Akaihirume, Michiko Akao, Pearl Alexander, Samm Bennett, Sarah Cahill, Gianni Gebbia, Mineko Grimmer, David Grubbs, Haco, Alfred Harth, Ken Ikeda, Madoka Kono, Gil Kuno, Soo Yeon Lyuh, Min Xiao-Fen, Otomo Yoshihide, SAEBORG, Kazue Sawai, Elliot Sharp, Yasuaki Shimizu, Stelarc, Aki Takahashi, Yuji Takahashi, Tosha Meisho, Kazuhisa Uchihashi, Wu Na, Wu Wei, Michiyo Yagi, Ami Yamasaki, Miki Yui and z’ev.

Carl Stone served as President of the American Music Center from 1992-95. He was the Director of Meet the Composer/California from 1981-1997, and Music Director of KPFK-fm in Los Angeles from 1978-1981. In 2019, DUBLAB.com reissed a series of radio conversations Stone had on KPFK-fm with Brian Eno, Frank Zappa, Terry Riley, Morton Subotnick, Harold Budd and others. Further activities have included serving as a regular columnist for Sound & Recording Magazine in Japan, serving as Guest Artistic Director for the Other Minds Festival, and for the official web site of the John Cage Trust.

https://www.rlsto.net/Nooz/

ASUNA   アスナ

語源から省みる事物の概念とその再考察を主題として作品を制作。同時に音の物理現象に関する美術作品の制作／パフォーマンスも行う。代表作に「organ」の語源からその原義である「機関・器官」としてオルガンを省みた『Each Organ』(2002)、本の語源としてのブナの木を元に情報の記録・運搬について扱った作品『Epidermis of Beech』などがある。近年は、干渉音の複雑な分布とモアレ共鳴に着目した作品『100 Keyboards』で、「メルボルン国際芸術祭」、「シンガポール国際芸術祭」、「ベルファスト国際芸術祭」、など海外のアート・フェスティバルから多数の招待を受け展示／パフォーマンスを行い、米ニューヨークの名門・BAM（ブルックリン・アカデミー・オブ・ミュージック）からの招待を受け、全公演ソールドアウトとなる単独公演を成功させた。並行した音楽制作では、10代の頃から東京の実験音楽／即興／音響シーンに関わり、様々なアコースティック楽器やPCベースによる作曲作品から即興演奏まで行いつつ、録音作品では毎回多岐に渡るコンセプトながらも一貫した作品制作を行う。これまで海外25カ国以上で演奏／展示、CDやレコードなどをリリース。

ASUNA is Japanese sound artist who has recently been reevaluated in the experimental music and art scene in recent years. Since teens in the late 90s, he has been producing in the experimental and improvised music scene in Tokyo. His works is simultaneously an interdisciplinary perspective in art  and a hardcore/punk and a sweet, musical orientation that seems to be its opposite. His signature work was “Each Organ” (2002), a sound installation that reinterpreted the concept of things from etymology. Then also released an album of reed organ drones and idyllic electronics, “Organ Leaf” (2003), on Lucky Kitchen in Spain, and has since released on labels around the world such as Meeuw Muzak, Senufo Editions, Faitiche, 12k and etc. He also often toured with “100 Toys” avant-garde performance, which featured a large number of toys. ASUNA's recent work "100 Keyboards" is a site-specific performance featuring over 100 toy-keyboards. This focuses on physical acoustic phenomena such as interference sound and moire resonance. This work has performed at many international art festivals and theaters such as BAM in New York.

https://sites.google.com/site/aaaaasunaaaaa/

Susumu Kakuda   角田進

DJ／インディペンデント・キュレーター／アクティビスト。DOMMUNEへのDJ出演や、クラブイベント、サウンドアート展、サウンドデモの主催等、インターネット、クラブ、ホワイトキューブからストリートまで多岐にわたり活動。