Presentation on Japanese Aesthetics delivered to Space Doctors. Very much my own vision and a digest of thinking inspired by my time living and working in Japan and inspired by my love of Japanese art and design and observations gleaned from semiotics projects conducted in Tokyo. The pres structure:
1. Japan: A Semiotic Culture
2. Aesthetic Approaches
3. Art / Design Traditions
4. Japanese Visual Codes
5. My Interest in Japan
If you're interested in Japanese visual culture then take a look! Enjoy.
Automatism was a technique that was first practiced by the Surrealists. It started from automatic writing then to painting. The automatist space played a significant role in artistic development as it inspired surrealism. Art can be therapeutic and spaces can be explored using the subconscious. This study aims at exploring and expressing the subconscious in mixed media painting. it will involve using detritus for artistic expression while expecting aesthetic results thereafter. it will be a practice led study exploring the automatist space. Results will be conceptualized and will not follow a formal rendition but a subconscious approach. Recommendations are made to encourage artists and visual enthusiasts to explore the subconscious.
What is Aesthetics? Why study Aesthetics?
Concept of Beauty
What do u understand by Aesthetics?
Aesthetics Experience: Visual, Tactile, Kinesthetic, Olfactory, Lyricism, Auditory, Gustatory, 2D Art, Digital Art..
How philosophers have said it…Classical theories of Aesthetics.
Relationship of Aesthetics with other Cultural values.
Slides for a First Year introduction to aesthetics focusing on the problems of Donald Judd's dictum. The slides relate to my chapter entitled "Art Worlds" in Exploring Visual Culture: Definitions, Concepts, Contexts, edited by Matthew Rampley. Published University of Edinburgh Press, 2005
Automatism was a technique that was first practiced by the Surrealists. It started from automatic writing then to painting. The automatist space played a significant role in artistic development as it inspired surrealism. Art can be therapeutic and spaces can be explored using the subconscious. This study aims at exploring and expressing the subconscious in mixed media painting. it will involve using detritus for artistic expression while expecting aesthetic results thereafter. it will be a practice led study exploring the automatist space. Results will be conceptualized and will not follow a formal rendition but a subconscious approach. Recommendations are made to encourage artists and visual enthusiasts to explore the subconscious.
What is Aesthetics? Why study Aesthetics?
Concept of Beauty
What do u understand by Aesthetics?
Aesthetics Experience: Visual, Tactile, Kinesthetic, Olfactory, Lyricism, Auditory, Gustatory, 2D Art, Digital Art..
How philosophers have said it…Classical theories of Aesthetics.
Relationship of Aesthetics with other Cultural values.
Slides for a First Year introduction to aesthetics focusing on the problems of Donald Judd's dictum. The slides relate to my chapter entitled "Art Worlds" in Exploring Visual Culture: Definitions, Concepts, Contexts, edited by Matthew Rampley. Published University of Edinburgh Press, 2005
Understanding the basic principles that go into the creation of a painting, will deepen your appreciation and experience of art. AND take you deeper into your own self. This is about direct experience, NOT conceptuality.
Presentation on Japanese Aesthetics delivered to Space Doctors. Very much my own vision and a digest of thinking inspired by my time living and working in Japan, by my love of Japanese art and design and observations gleaned from semiotics projects conducted in Tokyo. The pres structure:
1. Japan: A Semiotic Culture
2. Aesthetic Approaches
3. Art / Design Traditions
4. Japanese Visual Codes
5. My Interest in Japan
If you're interested in Japanese visual culture then take a look! Enjoy.
Chris A Creative Inspiration Slot FinalChris Arning
PResentation looking at the visual codes of protest and that explains an art house film on semiotics presented at Semiofest a Celebration of Semiotic Thinking which is uploaded on: http://youtu.be/HgrTs9-34gg
D&Ad Pecha Kucha Japan Chris ArningChris Arning
Pictures from my recent trip to Japan March 2012-April 2012, presented at D&AD Pecha Kucha - a charity benefit for Ashinaga Foundation helping victims of the March 2011 tsunami.
Semiotics of 2020 Tokyo Olympic Logo Visual IdentityChris Arning
A presentation that sets out considerations for the design of the 2020 Tokyo Olympics visual identity. This is based upon a semiotic analysis of previous Olympics Games logos (the author has written extensively on this topic) and the unique design and calligraphic in Japan.
YURIKO SAITOThe Moral Dimension of Japanese Aesthetics.docxransayo
YURIKO SAITO
The Moral Dimension of Japanese Aesthetics
Japanese aesthetics was first introduced to the
non-Japanese audience around the turn of the
twentieth century through now classic works, such
as Bushidō (1899), The Ideals of the East (1904),
and The Book of Tea (1907), all written in En-
glish and published in the United States.1 Since
then, Japanese aesthetic concepts, such as wabi,
sabi, yūgen, iki, and mono no aware, have be-
come better known, some even popularized to-
day.2 Some traditional Japanese art media, such
as flower arrangement, Noh theater, haiku, mar-
tial arts, and, perhaps most prominently, tea cere-
mony, are now widely studied and sometimes prac-
ticed outside of Japan. The authors of all these
studies generally characterize Japanese aesthet-
ics by focusing on aesthetic concepts and phe-
nomena that are “unique to” Japan and “differ-
ent from” non-Japanese aesthetic traditions, the
Western aesthetic tradition in particular.
Meanwhile, recent scholarship in Japanese
studies examines the historical and political con-
text during the rapid process of Westernization
(late nineteenth century through early twentieth
century) that prompted Japanese intellectuals at
the time to rediscover and reaffirm the character,
and sometimes superiority, of their own cultural
tradition and values, particularly aesthetics. Some
argue that, whether consciously or not, this pro-
motion of cultural nationalism paved the way for
the political ultra-nationalism that was the ideo-
logical underpinning of colonialism.3
Despite recent efforts to introduce, popularize,
or contextualize Japanese aesthetics, uncharted
territories remain. In this paper I explore one such
area: the moral dimension of Japanese aesthet-
ics. I characterize the long-held Japanese aesthetic
tradition to be morally based by promoting re-
spect, care, and consideration for others, both hu-
mans and nonhumans. Although both moral and
aesthetic dimensions of Japanese culture have, in-
dependently, received considerable attention by
scholars of Japanese aesthetics, culture, and soci-
ety, the relationship between the two has yet to
be articulated. One reason may be that there is no
specific term in either Japanese or English to cap-
ture its content. Furthermore, although this moral
dimension of aesthetic life is specifically incorpo-
rated in some arts, such as the tea ceremony and
haiku, it is deeply entrenched in people’s daily,
mundane activities and thoroughly integrated with
everyday life, rendering it rather invisible. Simi-
larly, contemporary discourse on morality has not
given much consideration to this aesthetic mani-
festation of moral values, despite the emergence
of feminist ethics, ethics of care, and virtue ethics.
Although they emphasize humility, care, and con-
siderateness, discourses on feminist ethics primar-
ily address actions or persons, not the aesthetic
qualities of the works they produce.
Japanese aesthetics suggests several ways for
culti.
Page 1 of 29 Japanese Aesthetics and Philosophy of ArtPRINTE.docxaman341480
Page 1 of 29 Japanese Aesthetics and Philosophy of Art
PRINTED FROM OXFORD HANDBOOKS ONLINE (www.oxfordhandbooks.com). (c) Oxford University Press, 2013. All Rights
Reserved. Under the terms of the licence agreement, an individual user may print out a PDF of a single chapter of a title in Oxford
Handbooks Online for personal use (for details see Privacy Policy).
Subscriber: OUP - OHO Editorial Board; date: 14 May 2013
The Oxford Handbook of World Philosophy
William Edelglass and Jay L. Garfield
Print publication date: Sep 2011
Print ISBN-13: 9780195328998
Published to Oxford Handbooks Online: Sep-11
Subject: Philosophy, Non-Western Philosophy
DOI: 10.1093/oxfordhb/9780195328998.001.0001
Japanese Aesthetics and Philosophy of Art
Mara Miller
DOI: 10.1093/oxfordhb/9780195328998.003.0028
Abstract and Keywords
Unlike most Western aesthetics, which recognize (aesthetic) pleasure,
independent of other values (truth and falsity, good and evil), as the primary
value of aesthetic experience, the various Japanese aesthetics recognize a
range of objectives and effects that is more complex. First, there is a wider
range of types of aesthetic pleasure. Those best known and most influential
in the West include aware/mononoaware (an awareness of the poignance of
things, connected to a Buddhist sense of transience and to passing beauty);
yūgen (deep or mysterious and powerful beauty, especially in Noh theater);
wabi (powerlessness, loneliness, shabbiness, wretchedness); sabi (the beauty
accompanying loneliness, solitude, quiet); and shibui (an ascetic quality
or astringency, literally the sensation afforded by a pomegranate, which
also imparts a rich but sober color to wood stains, etc.). Second, Japanese
aesthetic experiences and activities are employed in the service of a wider
range of objectives. These include (aesthetic) pleasure and the revelation
of truth; self-cultivation that is not only artistic but also physical, social,
emotional, psychological, and spiritual; the construction of personal, group,
and national identity; and the formulation of relationships. This article begins
with an overview of the uniqueness of Japanese aesthetics. It then examines
several of the unique objectives of Japanese aesthetics in further detail.
Japanese philosophy, Japanese aesthetics, aesthetic pleasure, aware, truth
Japanese aesthetics have exerted broad, deep, and important influences
on arts, on politics and power structures, and on individual lives not only in
http://www.oxfordhandbooks.com/page/privacy-policy
Page 2 of 29 Japanese Aesthetics and Philosophy of Art
PRINTED FROM OXFORD HANDBOOKS ONLINE (www.oxfordhandbooks.com). (c) Oxford University Press, 2013. All Rights
Reserved. Under the terms of the licence agreement, an individual user may print out a PDF of a single chapter of a title in Oxford
Handbooks Online for personal use (for details see Privacy Policy).
Subscriber: OUP - OHO Editorial Board; date: 14 May 2013
Japan but, for the past hu.
The Beauty of Soul, Beauty of Form: Naturally-glazed Ceramics and HaikuMakoto Hatori
The Log Book, Issue 22. 2005, pp.3-7, The International Publication for Woodfirers and those interested in Woodfired Ceramics - P.O.Box 612, Scariff, Co.Clare, Republic of Ireland
“Christopher Alexander’s Thought and Eastern Philosophy: Zen, Mindfulness and...Takashi Iba
Takashi Iba, Konomi Munakata, “Christopher Alexander’s Thought and Eastern Philosophy: Zen, Mindfulness and Egoless Creation with a Pattern Language”, PUARL 2018 conference, Portland, USA, Oct. 2018
We present that in order to realize “the process of creation of its own accord” put forward by Christopher Alexander, participation as ‘pure experience’ without thinking and analysis is necessary. This is a paradoxical but unique viewpoint; Alexander propose to create a ‘language’ (which is a tool for thinking) to share and follow spontaneous rules for generative process in Pure Experience. In this talk, we took up quotes of Christopher Alexander, Japanese Philosopher Kitaro Nishida, Ven. Ryodo Yamashita in Buddhism 3.0, and Zen Master Thich Nhat Hanh.
[PDF] http://web.sfc.keio.ac.jp/~iba/slides/201810PUARL_Eastern.pdf
Understanding the basic principles that go into the creation of a painting, will deepen your appreciation and experience of art. AND take you deeper into your own self. This is about direct experience, NOT conceptuality.
Presentation on Japanese Aesthetics delivered to Space Doctors. Very much my own vision and a digest of thinking inspired by my time living and working in Japan, by my love of Japanese art and design and observations gleaned from semiotics projects conducted in Tokyo. The pres structure:
1. Japan: A Semiotic Culture
2. Aesthetic Approaches
3. Art / Design Traditions
4. Japanese Visual Codes
5. My Interest in Japan
If you're interested in Japanese visual culture then take a look! Enjoy.
Chris A Creative Inspiration Slot FinalChris Arning
PResentation looking at the visual codes of protest and that explains an art house film on semiotics presented at Semiofest a Celebration of Semiotic Thinking which is uploaded on: http://youtu.be/HgrTs9-34gg
D&Ad Pecha Kucha Japan Chris ArningChris Arning
Pictures from my recent trip to Japan March 2012-April 2012, presented at D&AD Pecha Kucha - a charity benefit for Ashinaga Foundation helping victims of the March 2011 tsunami.
Semiotics of 2020 Tokyo Olympic Logo Visual IdentityChris Arning
A presentation that sets out considerations for the design of the 2020 Tokyo Olympics visual identity. This is based upon a semiotic analysis of previous Olympics Games logos (the author has written extensively on this topic) and the unique design and calligraphic in Japan.
YURIKO SAITOThe Moral Dimension of Japanese Aesthetics.docxransayo
YURIKO SAITO
The Moral Dimension of Japanese Aesthetics
Japanese aesthetics was first introduced to the
non-Japanese audience around the turn of the
twentieth century through now classic works, such
as Bushidō (1899), The Ideals of the East (1904),
and The Book of Tea (1907), all written in En-
glish and published in the United States.1 Since
then, Japanese aesthetic concepts, such as wabi,
sabi, yūgen, iki, and mono no aware, have be-
come better known, some even popularized to-
day.2 Some traditional Japanese art media, such
as flower arrangement, Noh theater, haiku, mar-
tial arts, and, perhaps most prominently, tea cere-
mony, are now widely studied and sometimes prac-
ticed outside of Japan. The authors of all these
studies generally characterize Japanese aesthet-
ics by focusing on aesthetic concepts and phe-
nomena that are “unique to” Japan and “differ-
ent from” non-Japanese aesthetic traditions, the
Western aesthetic tradition in particular.
Meanwhile, recent scholarship in Japanese
studies examines the historical and political con-
text during the rapid process of Westernization
(late nineteenth century through early twentieth
century) that prompted Japanese intellectuals at
the time to rediscover and reaffirm the character,
and sometimes superiority, of their own cultural
tradition and values, particularly aesthetics. Some
argue that, whether consciously or not, this pro-
motion of cultural nationalism paved the way for
the political ultra-nationalism that was the ideo-
logical underpinning of colonialism.3
Despite recent efforts to introduce, popularize,
or contextualize Japanese aesthetics, uncharted
territories remain. In this paper I explore one such
area: the moral dimension of Japanese aesthet-
ics. I characterize the long-held Japanese aesthetic
tradition to be morally based by promoting re-
spect, care, and consideration for others, both hu-
mans and nonhumans. Although both moral and
aesthetic dimensions of Japanese culture have, in-
dependently, received considerable attention by
scholars of Japanese aesthetics, culture, and soci-
ety, the relationship between the two has yet to
be articulated. One reason may be that there is no
specific term in either Japanese or English to cap-
ture its content. Furthermore, although this moral
dimension of aesthetic life is specifically incorpo-
rated in some arts, such as the tea ceremony and
haiku, it is deeply entrenched in people’s daily,
mundane activities and thoroughly integrated with
everyday life, rendering it rather invisible. Simi-
larly, contemporary discourse on morality has not
given much consideration to this aesthetic mani-
festation of moral values, despite the emergence
of feminist ethics, ethics of care, and virtue ethics.
Although they emphasize humility, care, and con-
siderateness, discourses on feminist ethics primar-
ily address actions or persons, not the aesthetic
qualities of the works they produce.
Japanese aesthetics suggests several ways for
culti.
Page 1 of 29 Japanese Aesthetics and Philosophy of ArtPRINTE.docxaman341480
Page 1 of 29 Japanese Aesthetics and Philosophy of Art
PRINTED FROM OXFORD HANDBOOKS ONLINE (www.oxfordhandbooks.com). (c) Oxford University Press, 2013. All Rights
Reserved. Under the terms of the licence agreement, an individual user may print out a PDF of a single chapter of a title in Oxford
Handbooks Online for personal use (for details see Privacy Policy).
Subscriber: OUP - OHO Editorial Board; date: 14 May 2013
The Oxford Handbook of World Philosophy
William Edelglass and Jay L. Garfield
Print publication date: Sep 2011
Print ISBN-13: 9780195328998
Published to Oxford Handbooks Online: Sep-11
Subject: Philosophy, Non-Western Philosophy
DOI: 10.1093/oxfordhb/9780195328998.001.0001
Japanese Aesthetics and Philosophy of Art
Mara Miller
DOI: 10.1093/oxfordhb/9780195328998.003.0028
Abstract and Keywords
Unlike most Western aesthetics, which recognize (aesthetic) pleasure,
independent of other values (truth and falsity, good and evil), as the primary
value of aesthetic experience, the various Japanese aesthetics recognize a
range of objectives and effects that is more complex. First, there is a wider
range of types of aesthetic pleasure. Those best known and most influential
in the West include aware/mononoaware (an awareness of the poignance of
things, connected to a Buddhist sense of transience and to passing beauty);
yūgen (deep or mysterious and powerful beauty, especially in Noh theater);
wabi (powerlessness, loneliness, shabbiness, wretchedness); sabi (the beauty
accompanying loneliness, solitude, quiet); and shibui (an ascetic quality
or astringency, literally the sensation afforded by a pomegranate, which
also imparts a rich but sober color to wood stains, etc.). Second, Japanese
aesthetic experiences and activities are employed in the service of a wider
range of objectives. These include (aesthetic) pleasure and the revelation
of truth; self-cultivation that is not only artistic but also physical, social,
emotional, psychological, and spiritual; the construction of personal, group,
and national identity; and the formulation of relationships. This article begins
with an overview of the uniqueness of Japanese aesthetics. It then examines
several of the unique objectives of Japanese aesthetics in further detail.
Japanese philosophy, Japanese aesthetics, aesthetic pleasure, aware, truth
Japanese aesthetics have exerted broad, deep, and important influences
on arts, on politics and power structures, and on individual lives not only in
http://www.oxfordhandbooks.com/page/privacy-policy
Page 2 of 29 Japanese Aesthetics and Philosophy of Art
PRINTED FROM OXFORD HANDBOOKS ONLINE (www.oxfordhandbooks.com). (c) Oxford University Press, 2013. All Rights
Reserved. Under the terms of the licence agreement, an individual user may print out a PDF of a single chapter of a title in Oxford
Handbooks Online for personal use (for details see Privacy Policy).
Subscriber: OUP - OHO Editorial Board; date: 14 May 2013
Japan but, for the past hu.
The Beauty of Soul, Beauty of Form: Naturally-glazed Ceramics and HaikuMakoto Hatori
The Log Book, Issue 22. 2005, pp.3-7, The International Publication for Woodfirers and those interested in Woodfired Ceramics - P.O.Box 612, Scariff, Co.Clare, Republic of Ireland
“Christopher Alexander’s Thought and Eastern Philosophy: Zen, Mindfulness and...Takashi Iba
Takashi Iba, Konomi Munakata, “Christopher Alexander’s Thought and Eastern Philosophy: Zen, Mindfulness and Egoless Creation with a Pattern Language”, PUARL 2018 conference, Portland, USA, Oct. 2018
We present that in order to realize “the process of creation of its own accord” put forward by Christopher Alexander, participation as ‘pure experience’ without thinking and analysis is necessary. This is a paradoxical but unique viewpoint; Alexander propose to create a ‘language’ (which is a tool for thinking) to share and follow spontaneous rules for generative process in Pure Experience. In this talk, we took up quotes of Christopher Alexander, Japanese Philosopher Kitaro Nishida, Ven. Ryodo Yamashita in Buddhism 3.0, and Zen Master Thich Nhat Hanh.
[PDF] http://web.sfc.keio.ac.jp/~iba/slides/201810PUARL_Eastern.pdf
International Journal of Humanities and Social Science Invention (IJHSSI)inventionjournals
International Journal of Humanities and Social Science Invention (IJHSSI) is an international journal intended for professionals and researchers in all fields of Humanities and Social Science. IJHSSI publishes research articles and reviews within the whole field Humanities and Social Science, new teaching methods, assessment, validation and the impact of new technologies and it will continue to provide information on the latest trends and developments in this ever-expanding subject. The publications of papers are selected through double peer reviewed to ensure originality, relevance, and readability. The articles published in our journal can be accessed online
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Can AI do good? at 'offtheCanvas' India HCI preludeAlan Dix
Invited talk at 'offtheCanvas' IndiaHCI prelude, 29th June 2024.
https://www.alandix.com/academic/talks/offtheCanvas-IndiaHCI2024/
The world is being changed fundamentally by AI and we are constantly faced with newspaper headlines about its harmful effects. However, there is also the potential to both ameliorate theses harms and use the new abilities of AI to transform society for the good. Can you make the difference?
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Maximize Your Content with Beautiful Assets : Content & Asset for Landing Page pmgdscunsri
Figma is a cloud-based design tool widely used by designers for prototyping, UI/UX design, and real-time collaboration. With features such as precision pen tools, grid system, and reusable components, Figma makes it easy for teams to work together on design projects. Its flexibility and accessibility make Figma a top choice in the digital age.
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3. Space Doctors / Japanese Aesthetics CREATIVE SEMIOTICS LTD.
1 JAPAN: A SEMIOTIC CULTURE
2 AESTHETIC APPROACHES
3 ART / DESIGN TRADITIONS
4 JAPANESE VISUAL CODES
5 MY INTEREST IN JAPAN
CONTENTS
4. Space Doctors / Japanese Aesthetics CREATIVE SEMIOTICS LTD.
“The modernisation of Japan has been
orientated toward learning from and
imitating the West.
Yet Japan is situated in Asia and has firmly
maintained its traditional culture”
What I call Japan’s ‘ambiguity’ is my lecture
is a kind of chronic disease that has been
prevalent through the modern age”
Kenzaburo Oe, “Japan, the Ambiguous and
Myself”, Nobel Prize for Literature Speech
(1994)
JAPAN, THE AMBIGUOUS AND MYSELF
5. Space Doctors / Japanese Aesthetics CREATIVE SEMIOTICS LTD.
1. JAPAN: A SEMIOTIC
CULTURE
Context Dependence
Unique Writing System
Japanese Exceptionalism
6. Space Doctors / Japanese Aesthetics CREATIVE SEMIOTICS LTD.
Japan is a high context, detail driven culture in which everything is
inscribed with information saying how it should be used and in what
way. The above are taken from Japan Metro public service ads.
Industrial design objects like toilets, public information signage all
contain a wealth of text in order to orient and inform the Japanese.
CONTEXT DEPENDENCE
7. Space Doctors / Japanese Aesthetics CREATIVE SEMIOTICS LTD.
CONTEXT DEPENDENCE
Where to stand when queuing to pay:
“Please stand here and wait for the
cashier to call you forward”
At a Zen Garden in Tokushima. Slightly unusual form of sign. Often
in Japan there is information that might seem to be redundant.
8. Space Doctors / Japanese Aesthetics CREATIVE SEMIOTICS LTD.
Unique to Japanese is the semantic complexity of the script, three
writing systems that involve knowledge not only each sign and its
referent, but also about how the writing scripts combine in syntax in
grammar and how the meaning of ideograms shift in combination.
UNIQUE WRITING SYSTEM
2. KATAKANA
3. KANJI
1. HIRAGANA
9. Space Doctors / Japanese Aesthetics CREATIVE SEMIOTICS LTD.
UNIQUE WRITING SYSTEM
Puru puru,(ぷるぷる)meaning ‘bouncy’ Tsubu tsubu, (つぶつぶ)meaning ‘grainy’
For instance, Japanese has a system of onomatopeiac, mimetic
sounds called gitaigo that enabled them to express, feeling, nuance,
sensation – this is a fun facet of Japanese often used in advertising
10. Space Doctors / Japanese Aesthetics CREATIVE SEMIOTICS LTD.
Uniquely Western and Eastern – post modern before post modern.
Colonial power that asserted itself in the region in late 19th Century.
An Asian country that deep down sees itself as unique and separate
from other nations in the region. Though mix of Ainu and SE Asian.
Shares the Confucian values, sensibilities of North Asian nations but
shares the alienation clannishness of Scandinavian / Baltic countries.
Nihonjinron discourse feeds sense of Japanese exceptionalism and
feeds both insular, psychic togetherness and persistent xenophobia.
JAPANESE EXCEPTIONALISM
11. Space Doctors / Japanese Aesthetics CREATIVE SEMIOTICS LTD.
JAPANESE EXCEPTIONALISM
1920s Moga Modern Japanese girl : “Shiseido Face of Beauty”
Nihonjinron has fed beliefs about the uniqueness of Japan and the
Japanese: one of the areas of this uniqueness is the Japanese face
As Mikiko Ashikari writes: “Although there may be no ‘Japanese race’
in any scientific or biological sense, the Japanese tend to perceive
themselves as a distinct ‘racial’ group who share the same skin.”
“Cultivating Japanese Whiteness: The ‘Whitening’ Cpsmetics Boom and Japanese Identity”
Photo from Tokyo Design Week 2013
12. Space Doctors / Japanese Aesthetics CREATIVE SEMIOTICS LTD.
2. AESTHETIC
APPROACHES
EMPTINESS: Empire of Signs
OCCLUSION: In Praise of Shadows
TRANSIENCE: Situational Aesthetics
13. Space Doctors / Japanese Aesthetics CREATIVE SEMIOTICS LTD.
EMPTINESS: EMPIRE OF SIGNS
“Empire of Signs?
Yes, if it is understood that these signs are
empty and that the ritual is without a god.”
ROLAND BARTHES, THE EMPIRE OF SIGNS
14. Space Doctors / Japanese Aesthetics CREATIVE SEMIOTICS LTD.
“The West has understood this law only too well: all its cities are concentric; but also, in
accord with the very movement of Western metaphysics, for which every center is the site
of truth, the center of our cities is always full… The city I am talking about Tokyo, offers this
precious paradox: it does possess a center, but this center is empty. The entire city turns
around a site both forbidden and indifferent, a residence concealed beneath foliage,
protected by moats, inhabited by an emperor who is never seen… The streets of this city
have no names… the largest city in the world is practically unclassified. In this enormous city,
really an urban territory, each district is placed on the rather empty map, like a news flash.”
ROLAND BARTHES, THE EMPIRE OF SIGNS
EMPTINESS: EMPIRE OF SIGNS
15. Space Doctors / Japanese Aesthetics CREATIVE SEMIOTICS LTD.
“What is remarkable about Japanese culture or the
Japanese language as well, is that this semiotic
mechanism is working quite strongly…in order for alien
elements to be admitted into the culture… The empty
center, however, could have no scruple about it, since it is
at least theoretically ready to lend itself to, or even
invites, all kinds of possible reorganization based on any
standard of values and ideologies. A culture with an
empty centre would this tend to work centripetally – it is
somewhat like the astronomer’s black hole which draws
and absorbs evertyhig into itself – without suffering any
change at all. A culture with an empty centre can
accommodate and keep in it apparently diverse
elements.”
YOSHIHIKO IKEGAMA (ED.), THE EMPIRE OF SIGNS:
SEMIOTIC ESSAYS ON JAPANESE CULTURE
EMPTINESS: EMPIRE OF SIGNS
16. Space Doctors / Japanese Aesthetics CREATIVE SEMIOTICS LTD.
OCCLUSION: IN PRAISE OF SHADOWS
“Whenever I see the alcove of a tastefully built
Japanese room, I marvel at our comprehension
of the secrets of shadows, our sensitive use of
shadow and light… This was the genius of our
ancestors, that by cutting off light from this
empty space they imparted to the world of
shadows that formed there a quality of mystery
and depth superior to that of any wall painting”
JUNICHIRO TANIZAKI, IN PRAISE OF SHADOWS
17. Space Doctors / Japanese Aesthetics CREATIVE SEMIOTICS LTD.
“We do not dislike everything that shines but we prefer a pensive
luster to a shallow brilliance, a murky light, that whether in a stone or
an artifact, bespeaks a sheen of antiquity. I realised then that only in
the dim light is the true beauty of Japanese lacquerware revealed.”
JUNICHIRO TANIZAKI, IN PRAISE OF SHADOWS
OCCLUSION: IN PRAISE OF SHADOWS
18. Space Doctors / Japanese Aesthetics CREATIVE SEMIOTICS LTD.
“This particular aesthetic system does not recognize beauty in the
individual elements of a scene … beauty is born of a combination of
circumstances, including time, setting and scenery. It is not an
inherent, innate, fixed characteristic of an individual object… In
Japanese aesthetics… it is believed that beauty arises from a
specific situation. It can disappear when circumstances change.
Western societies, in contrast, have formulated … ‘substantial
aesthetics’, in which the mainstream notion of beauty is traditionally
considered to have a specific objective reality”. When a Westerner
says, for example, “The bird is beautiful,” he perceives that beauty
exists in the bird itself, independently of the bird’s circumstances.
Because this system of substantial aesthetics is predicated on the
notion that beauty is something with an objective reality”
SHUJI TAKASHINA, BEAUTY IN JAPAN AND THE WEST
Face to Face: Shiseido and the Manufacture of Beauty 1900-2000
TRANSIENCE: SITUATIONAL AESTHETICS
19. Space Doctors / Japanese Aesthetics CREATIVE SEMIOTICS LTD.
TRANSIENCE: SITUATIONAL AESTHETICS
The beauty of a Zen garden inheres not in the qualities of individual
features, but in the placement and inter-relationships between them.
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TRANSIENCE: SITUATIONAL AESTHETICS
Kou you,(こうよう 紅葉)
meaning red, yellow leaves’
Autumn viewing is popular,
One aspect of this is the Japanese love for changing of the seasons,
which occasion social gathering for viewing the cherry blossoms in the
Spring and for viewing Red, Yellow Leaves in the Autumn. Consumer
culture is often carried away by a focus on seasonal colour schemes
and the special feelings, rituals associated with each of the seasons.
Sakura,(桜 さくら)
meaning cherry blossoms.
Spring viewing is popular,
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TRANSIENCE: SITUATIONAL AESTHETICS
The Ise Shrine in Mie Prefecture provides a typical example of this.
“Every twenty years, the shrine is razed and rebuilt in a rite called
shikinen sengu. Obviously, the newly rebuilt structure is not the same as
previous one. According to Western Aesthetics,… the rebuilt copy is a
copy, if not a sham... Having no faith in permanence of memory,
Japanese believe permanence of form ensures succession of memory.”
SHUJI TAKASHINA, BEAUTY IN JAPAN AND THE WEST
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TRANSIENCE: SITUATIONAL AESTHETICS
“This famous poem by an unknown author is made up of a total of
47 hiragana characters (every symbol except the n). It dates from
the Heian Era. It originally appeared in an official document in 1079.
It is used by Japanese children to learn the 50 sounds of Japanese.
Even at a young age, Japanese are confronted with the ephemeral.
Colours and shapes may
blossom, but not for long.
In this life, nobody lives
forever.
Going beyond the summits
of illusion.
No longer shallow dreams
of ecstasy.
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3. ART / DESIGN
TRADITIONS
Calligraphy
Decorative Art
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“There is a Japanese visual art in which the artist is forced to be
spontaneous. He must paint on a thin stretched parchment with a
special brush and black water paint in such a way that an unnatural
or interrupted stroke will not destroy the line or break through the
parchment. Erasures or changes are impossible…” Bill Evans
Liner notes from Miles Davis’s Kind of Blue
CALLIGRAPHY
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“In calligraphy there are also many styles to be mastered: these
range from the more restrained, rectilinear styles, such as the
kaisho style, through oracle and seal scripts through the cursive
script (gyousho) all the way through to running script (sousho) style
as well as non- standard abstract expressionist forms like Zen’ei.”
CALLIGRAPHY
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CALLIGRAPHY
光男間,(みつを あいだ)
Popular poet, calligrapher
and philosopher who
emphasized importance of
human beings individuality
and encouraged human
flaws, failings as natural.
This calligraphy reads:
“It’s okay to stumble.
We are human after all”
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CALLIGRAPHY
早雲武田(そううんたけだ)
1978-present
Contemporary avant-garde
calligrapher who does a lot of
working promoting the artistic
freedom and therapeutic
benefits of calligraphy in Japan.
This calligraphy spells the
character ‘Hope’ at Meiji
Jingumae station in Tokyo.
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CALLIGRAPHY
In this ad for Shu Uemura mascara,
eye liner, calligraphy is referenced
for the precision and refinement of
the strokes and its inky blackness
In this ad for Tama San barley tea,
the calligraphy strokes are rough
and convey an organic warmth that
helps connote natural ingredients.
In this ad for Sendai Table tourney
2015, the white calligraphic strokes
seek to convey speed and flair and
the responsiveness of top players
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DECORATIVE ART - LACQUERWARE
• Japanese lacquer is an organic substance that is crafted to look
eventually like a synthetic substance – just like Japan itself, glossy
perfection on the surface, conceals warmth and love of nature.
• Production of lacquer is something incredibly time consuming and
that demands great artistry: it is a process that parallels the idea
honing one’s strength of character, like beating a samurai katana.
• “I discovered in the gloss of this lacquerware a depth and richness
that of a still, dark pond, a beauty I had not seen before”
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DECORATIVE ART - LACQUERWARE
On my trip to Wajima, Ishikawa prefecture
in 2014 I the studio of Shioyasu where they
Took me through the process from extraction
of urushi (lacquer) sap through to the mixing
with earth, through to a bitumen paste
The sort of box you see here (price was
about £2000) is the result of extremely
painstaking craft, of either chinkin gouging
or maki-e painting but the final product is
beautiful and actually quite durable too.
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DECORATIVE ART - LACQUERWARE
Tsubaki shampoo launched by Shiseido in 2007 and marketed for
Japanese hair used packaging that resembles lacquerware. The
connotation is clear – lacquerware is the acme of Japanese beauty.
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4. JAPANESE VISUAL
CODES
Yohaku
Wabi Sabi
Simpuru
Kawaii
O-Share
Zeitaku
Hade
Otaku
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余白
This literally means, blank space, margin, which incorporates the
concept of ma 間 which is an interval or space. As Ara Isozaki writes
in Ma: Space-Time in Japan (1978/2009) “MA is literally defined as
the natural interval between two or more things existing in a
continuity”. It is very much valued in and of itself. It is invisible, but
not insensible, it creates fullness out of void. Valued in architecture.
JAPANESE VISUAL CODES - YOHAKU - 余白
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詫び寂び
Wabi Sabi describes a traditional Japanese aesthetic sensibility
based on an appreciation of the transient beauty of the world.
Often uses beige, brown, earthy colours or Japanese moss green.
This aesthetic is most employed in travel advertising and artisanal
design, particularly of furniture, objets d’art, tableware to evoke
something unique, warm, idiosyncratic and modestly Japanese.
JAPANESE VISUAL CODES - WABI-SABI - 詫び寂び
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JAPANESE VISUAL CODES - SIMPURU – シンプル
シンプル
‘Simpuru’ described a minimalist design style that involves minimal
use of materials, contour bias and a focus on emotional design.
Uncluttered graphics signify an appreciation of humility, discretion
and restraint. It is used in product and packaging design, in poster
design and appeals as warm, friendly by among younger generation
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JAPANESE VISUAL CODES - KAWAII - かわいい
可愛い
Kawaii has etymological roots in the term kawayushi, denoting shyness,
embarrassment, and vulnerability, and kawaiiso means pathetic, poor,
and pitiable. It came to prominence associated with young girls but then
became associated with the rise of more independently minded, but
socially frowned upon hedonistic young women with disposal income.
Kawaii has morphed hugely. Too complex to do justice really in one slide.
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JAPANESE VISUAL CODES - O-SHARE – オシャレ
オシャレ
Usually associated with the Economic Bubble of the 1980s and the
fashion conscious, luxury label obsessed Japanese consumer. Carries
connotations of snazzy as well as some class envy (c.f. Pijo in Spanish)
Aesthetically quite close to what we think of as premium design, which
is slick, sleek and sharp often deploying blacks, metallics and greys.
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JAPANESE VISUAL CODES - ZEITAKU – 贅沢
贅沢
Zeitaku means both extravagance and lavishness. Historically, Zeitaku
was considered a sin in Japan where a Buddhist parsimony was to be
appreciated. Today, it has both positive and negative connotations. It
also means abundance or richness. In brand communications, the term
‘zeitaku’ is used when expressing ‘richness’ of ingredients. And it is now
expressive also of experiences (e.g. travel, spas, healing, gastronomy).
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JAPANESE VISUAL CODES - HADE – 派手
Space for Images
(delete boxes)
派手
Hade is usually defined as showy, bright, gaudy. Usually entails layering,
protrusion and a cacophony of colours. It is very much the style of
Osaka and the Kansai region rather than Tokyo or Kanto, which is a
result of the merchant, not samurai pedigree. They are generally seen
to be loud and to have a penchant for extroversion and humour. Hade
is the preserve of 15sec attention getting ads, TV entertainment shows.
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JAPANESE VISUAL CODES - OTAKU – オタク
オタク
“Otaku signifies more than manga and anime fanboys and geeks. It is a
new type of culture – one that blurs the world of children and adults,
worships pop culture minutiae, fetishizes objects real and virtual, and at
its worst spawns an almost autistic, inward looking possessiveness.”
Otaku is migrating from clandestine sub-culture to Cool Japan export.
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5. MY INTEREST IN
JAPAN
JET Programme
Calligraphy, Art
Business Trips Abroad
Futuristic Fantasy Novel
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MY INTEREST IN JAPAN – JET PROGRAMME
I spent one year teaching English as a foreign language in Yamaguchi
Prefecture in Western Japan. There were few English speakers so
my time there sparked my interest in Japanese language and culture
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MY INTEREST IN JAPAN – CALLIGRAPHY
I have maintained an interest in Japanese calligraphy. On the left, this
is Misato Watanabe, who is a calligrapher and typographer I met in
London. On the right is the virtuosic sign for a pizzeria in Nagato City.
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MY INTEREST IN JAPAN - CALLIGRAPHY
I have since practiced Japanese calligraphy under various teachers
in London. It is one of my passions. I have written articles on it and I’m
keen to improve my brushwork technique and repertoire over time.
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MY INTEREST IN JAPAN - BUSINESS TRIPS
I conducted a study for eYeka, one of which was for ADK Stand for
Japan, geared towards using semiotics to filter down global crowd
sourced entries paying tribute to the best of Japanese pop culture.
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MY INTEREST IN JAPAN – BUSINESS TRIPS
From 2003-2008 I conducted several studies for Unilever Japan on
topics as diverse as moisturisation, seduction, scalp care and beauty
helping Dove understand why Real Beauty did not really work in Japan
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MY INTEREST IN JAPAN – FUTURISTIC FANTASY NOVEL
I have just finished writing a detailed synopsis for a novel called Tokyo
Gloaming 2045, which is a dystopian techno thriller with a strong moral
dimension set in Japan where technology change sex and love forever.
Image: Dan Kitchener
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CHRIS ARNING
Mobile: 07951 160 921
Skype: chrisarning
E-Mail: chris@creativesemiotics.co.uk
Website: www.creativesemiotics.co.uk