- Time of the event
- Sunday, December 15, 2019 13:00~18:30 (Doors open 12:30)
- Venue
- Tokyo Metropolitan Museum of Photography Hall 1 F (Mita 1-chome 13-3, Meguro-ku, Tokyo)
- Sponsor
- Tokyo Metropolitan Foundation for History and Culture Arts Council Tokyo
In the 21 century, IoT, artificial intelligence, biotechnology, and robotics have developed dramatically, and what was told in science fiction in the 20 century is becoming a reality. However, while these innovations have brought great benefits, there are concerns about new issues such as manipulation of information through social media, fake news, bias in AI, and ethics surrounding robotics and biotechnology.
On the other hand, there are still unresolved issues from the 20 century, such as the violence inherent in regional conflicts and disparate societies, and the destruction of the natural environment caused by humans. As a mirror of the new challenges arising from technological innovation and the world that is becoming visible due to the rapid increase in accessibility, art depicts the existence of people today and their inherent conflicts, and asks questions to society.
In this forum, practitioners from the UK, Taiwan and Japan who connect art, media and technology to society will be invited to introduce their practical and pioneering activities using today's technology. I would like to ask them how motivated they were to start their activities against violence and bias hidden in society, how they identified social issues, and how they have continued their activities. We will then explore new possibilities for social practices that can sustainably permeate our societies through culture and the arts, while considering how we ourselves can become practitioners rather than bystanders.
Resilience: Toward the Future of Cultural Resistance by Junya Yamamine
When I read about how a consulting firm used personal information on social media to play a role in the U.S. presidential election a few years ago, I was reminded that things happen in a world of invisible data. That event had shown that today's information technology had become so ubiquitous that it could incite people without being noticed. In other words, the essence of today's information environment lies in the power to move the world unconsciously. This is happening on the other side of the bright future created by technology, which has been produced through high-quality and diverse creations.
In the first place, the driving force behind technology was military need. But in the 1960s and 70s, criticism of commercialism and authoritarianism led to the rise of alternative culture. Inspired by these engineers, computers became a tool for personal empowerment. Today, technology is opening up opportunities for development and exploitation, as well as information and content as data. You just have to keep handing over access logs, location data, and other personal information to someone you can't see. If you think about it, technology might seem like a collar attached to each individual. But we're at a point where technology can be used to disrupt the status quo through the power of individual will, rather than as a tool for the powerful.
In order to share these trends and deepen discussions, the Forum has invited two practical collectives from overseas. One is Forensic Architecture, which visualizes the existence of the vulnerable exposed to violence by creating 3D data of the ruins of ethnic minorities destroyed by terrorist groups and analyzing the actual situation of civilian damage caused by bombings in conflict areas from images on SNS. The other is g0v, an anonymous civic tech community with themes of freedom of speech, open source, and the pursuit of the public good, which has contributed to the improvement of civic awareness in Taiwan through a wide range of activities such as data visualization of the use of government funds, and was involved in the Sunflower Student Movement. All are groups that have continuously taken a cultural approach and have operated with a certain influence on society.We will deepen our discussion on cultural resistance, which has resisted authoritarian structures through such cultural activities, with Japanese speakers such as Ai Hasegawa, Kazuya Kawasaki, and Taichi Sunayama, artists and researchers who have found alternative perspectives in today's technological environment. From there, we would like to seek clues to create practical activities with resilience that will continue to permeate society.
reference video
Forensic ArchitectureTHE BOMBING OF RAFAH: A 3D model created in collaboration with Amnesty International (Black Friday) to identify bombing sites in Rafah, Palestinian Territory
Program
- 13:00～13:05
- Host's Address
- 13:05～13:30
- Message from the organizer: Junya Yamamine
- 13:30～14:30
- Session 1"Resisting Oppression through Architectural Methods and Information Technology from the Activities of Forensic Architecture"
Speakers: Eyal Weizman, Christina Varvia (Forensic Architecture)
Moderators: Taichi Sunayama, Junya Yamamine - 14:30～14:40
- break
- 14:40～15:40
- Session 2"Activities of the Civic Tech Community g0v, which has utilized open data as a technology to empower citizens"
Speaker: Bess Lee (g0v)
Moderator: Kazuya Kawasaki, Junya Yamamine - 15:40～15:50
- break
- 15:50～16:40
- Session 3"A way of thinking that raises issues: from art, design and architecture to society, cities and the environment"
Speakers: Ai Hasegawa, Kazuya Kawasaki, Taichi Sunayama
Moderator: Junya Yamamine - 16:40～17:00
- break
- 17:00～18:30
- Discussion by all speakers (including Q & A)
Interpretation: Simultaneous interpretation (Japanese/English), Japan-China sequential interpretation (only for discussion by all speakers)
* The performers and program contents are subject to change or cancellation without prior notice.
participation fee
Free (advance application required)
capacity
190 persons
How to apply
We have finished accepting applications because we have reached the limit.
Please fill in the necessary information and apply here (Peatix).
* Personal information will be used only for the operation and guidance of this project.
- application deadline
- Wednesday, November 20, 2019 - Tuesday, December 10
* First-come-first-served basis
speaker
Eyal Weizman (Forensic Architecture) [UK]
Forensic Architecture（フォレンシック・アーキテクチャー）の創始者。ロンドン大学ゴールドスミス・カレッジの空間とビジュアル文化学科教授であり、2005年同学科内にセンターフォーリサーチアーキテクチャーを設立した。世界中の大学で研究や講演を行い、著書は15冊以上にわたる。過去にはプリンストン大学グローバルスカラー招聘、ウィーン美術アカデミー教授もつとめた。国際刑事裁判所のテクノロジー・アドバイザリーボード、調査報道センターの評議員会をはじめ、複数の機関の常務や顧問を兼任する。またパレスチナのベイトサホールにある建築家コレクティブDAARの創設メンバーでもある。AAスクールで建築を学び1998年卒業。2006年ロンドン大学バークベック・カレッジのロンドン・コンソーシアムにて博士号を取得した。
https://forensic-architecture.org/
Christina Varvia (Forensic Architecture) [UK]
Forensic Architecture（フォレンシック・アーキテクチャー）の副ディレクターとして、プログラムのコーディネート、チーム編成、海外リサーチと新しい方法論の開発を手がける。ウェストミンスター大学（RIBAパート１)、AAスクール（RIBAパート２）で建築を学ぶ。これまでデジタルメディアと記憶、スキャンと画像技術を通した物理的環境の知覚について研究し、その研究をタイムベースド・メディアを通して展開している。現在AAスクールのディプロマ・ユニット３でユニットマスターとして教えている。また国際刑事裁判所テクノロジー・アドバイザリーボードのメンバーでもある。
https://forensic-architecture.org/
Bess Lee (g0v) [Taiwan]
g0v（ガブ・ゼロ）バイマンスリー・ハッカソンを主宰し、g0vシビックテック・プロトタイプ助成を行うg0v jothonのチーフスタッフ。以前はアートアドミニストレーターとして、芸術家村で地域と行うアーティストの活動を手伝っていた。g0vハッカソンを組織する“jothon”は、2012年より隔月で開催されるg0v.twバイマンスリー・ハッカソンの運営チーム。g0vのコミュニティ・インフラストラクチャー（インフラソン）にも取り組み、2016年にg0vシビックテック・プロトタイプ助成を設立している。
http://g0v.asia/
Ai Hasegawa [Japan]
アーティスト、デザイナー。生物学的課題や科学技術の進歩をモチーフに、現代社会に潜む諸問題を掘り出す作品を発表している。岐阜県立国際情報科学芸術アカデミーにてメディアアートとアニメーションを勉強した後ロンドンへ。数年間Haque Design + Researchで副社長兼デザイナーとして公共スペースのインタラクティブアートの研究開発に関わる。2012年英国Royal College of Art, Design InteractionsにてMA取得。2014年秋から2016年夏までMIT Media Lab, Design Fiction Groupにて准研究員兼大学院生。2017年４月から東京大学大学院にて特任研究員・JST ERATO 川原万有情報網プロジェクトメンバー。《（不）可能な子供、01：朝子とモリガの場合》が第19回文化庁メディア芸術祭アート部門にて優秀賞受賞。
https://aihasegawa.info/
Kazuya Kawasaki [Japan]
スペキュラティヴ・ファッションデザイナー／デザインリサーチャー／Synflux主宰。1991年生まれ。慶應義塾大学大学院政策・メディア研究科エクスデザインプログラム修士課程修了（デザイン）、現在同後期博士課程。主な受賞に、H&M財団グローバルチェンジアワード、文化庁メディア芸術祭アート部門、Dezeen Award Design Longlist、STARTS PRIZEなど。オランダ・ダッチデザインウィーク／南アフリカ・デザインインダバ招待作家。監修・編著書に『SPECULATIONS 人間中心主義のデザインをこえて』（BNN新社、2019）。
www.kzykwsk.tumblr.com
Taichi Sunayama
sunayamastudio主宰。京都市立芸術大学美術学部総合芸術学科専任講師。建築をはじめとした芸術領域における情報性・物質性を切り口とした制作・設計・企画・批評を手がける。2004年多摩美術大学彫刻学科を卒業し渡仏。2008年ESA Parisを修了後、建築設計事務所、構造設計事務所にて勤務・協働。2011年帰国。2016年、東京藝術大学大学院美術研究科建築（構造計画）研究領域 博士後期課程 学位取得。現在、東京にスタジオをかまえつつ、京都市立芸術大学において現代芸術論、デザイン論などの理論講義をおこなう。
https://tsnym.nu/
Yamamine Junya [Japan]
He is a curator of the Mito Art Museum Contemporary Art Center. Born in 1983. Graduated from Tokyo University of the Arts. After working at the Tokyo Metropolitan Museum of Photography and the Kanazawa 21 Century Museum of Contemporary Art, he assumed his current position. With a focus on media theory, he has been engaged in a wide range of exhibitions from new media to contemporary art. Major exhibitions include "Hello World: Towards the Post-Human Era" and "Fujiko Nakaya, Fog Resistance" (Mito Art Museum Contemporary Art Center). "3D Visions," "How to look at the invisible world," "Ebisu Film Festival (4th -7)" (Tokyo Metropolitan Museum of Photography). His other activities include guest curation of IFCA(2011: Slovenia), Eco Expanded City(2016: WRO Art Center, Poland), etc., overseas training as a curator of the Ministry of Education, Culture, Sports, Science and Technology in 2015, member of Japanese Art Oral History Archive, Asian Art Award 2017, 2018 supported by Warehouse TERRADA selection committee, etc.
Contact Us
アート＆メディア・フォーラム事務局（メディア・デザイン研究所）
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