This is an essay about the connections between the passage of time and the condition of archaeological knowledge. It revisits Tim Ingold’s 1993 paper The Temporality of the Landscape, considering its relationship with the phenomenological and interpretive archaeologies of the 1990s and what we learn from it today. Engaged not so much in an ‘ontological turn’ as in a kind of archival return, the essay compares Ingold’s discussion of Breugel’s painting The Harvesters (1565) with an archaeological photograph from 1993. A discussion of the after-effects of performance follows, and four theses about temporality, landscape, modernity and revisiting are put forward: i) The passage of time transforms archaeological knowledge; ii) Archaeological knowledge transforms the passage of time; iii) An archaeological landscape is an object that is known through remapping; iv) Archaeological knowledge is what we leave behind. The essay concludes that that archaeology is not the study of the temporality of the landscape, as Ingold had argued, but the study of the temporality of the landscape revisited

https://www.tandfonline.com/doi/pdf/10.1080/00293652.2016.1151458

The Temporality of the Landscape Revisited

This is a catalogue of Japanese avante-garde art since 1945. It surveys some 200 works, including painting, sculpture, photography, performance, video, film and installation art, by more than 100 artists. Rebellious groups such as the Gutai, a 1950s experimental movement, are also represented.

Japanese Art After 1945 Scream Against the Sky = Sengo Nihon No Zen Ei Bijutsu : Sora E Sakebi

SATURN’S ARK: THE IMPROVISED ARCHIVES, POLITICS, AND PERFORMANCES OF SUN RA Brian J. Lefresne Advisor: University of Guelph, 2018 Professor Ajay Heble This dissertation examines the relationship between Black experimental performer Sun Ra (and his ensemble known as the Arkestra) and the archives of Black expressive culture. The archive, both conceptually and physically, provides a theoretical approach to understanding the cultural and social influences present in the musical performances, social practices, and politics of Ra and the Arkestra. In Chapter One, I detail how Ra’s elaborate concert spectacles known as “myth-rituals” should be understood as an act of archival preservation and intervention. Within these concerts Ra was able to maintain traditions of Black sacred and secular performance cultures that provided a performative grammar to ward off the commodification of jazz and other improvised musics within formal settings. In the second chapter, I shift my attention towards Ra and the Arkestra’s clothing and fashion. I argue that these sartorial choices may be seen as an “alternative archive.” The materiality and style of Ra and the Arkestra’s clothing function as an archival repository that captures the heterogeneity of, and often competing, discourses around Black visual and embodied identity politics of early 1970s America. Moreover, I suggest that Ra and the Arkestra’s dress is in dialogue with Black diasporic traditions of dandyism and tricksterism. The final chapter shifts towards the historical moment of the Space Race. In this chapter I suggest that Ra’s sounds, words, and visual identity from the years 1969-1972 must be seen as part of a wider movement of Black diasporic cultural actors whose works form what I call the Black counter-archive of the Space Race. I contend that Ra and his contemporaries produced cultural artefacts that can be positioned as part of an archival repository that critiques the mainly American and wholly white archive of humanpowered space travel and exploration. In my conclusion, I examine how Ra’s persona and his performance practices (in tandem with the Arkestra) confound conventional approaches to archives and archiving. This discussion is followed by a brief coda where I explore the ways in which the practice of engaging in archival research might itself be seen as an improvisatory act.

Saturn's Ark: The Improvised Archives, Politics, and Performances of Sun Ra

Regulations in urban governance stipulate that large amounts of urban data be made available to the public with the intention of informing and enhancing decision making by businesses and citizens. Yet, the Planning and Building Permit Archive for the City of Oslo as one such source of data, only enables pinhole access by the public, denying public dissemination of planning and urban development issues beyond individual building and planning cases. Based on a set of experiments by the designer Even Westvang in a project called SeePlan, the article discusses how visualizing data from the Planning and Building Permit Archive may extend the available repertoire for the public to participate in urban planning.

/pdf/exploring-urban-data-visualization-and-public-participation-yl5bk47v0s.pdf

Exploring urban data visualization and public participation in planning

Kawaii culture and aesthetics are a peculiarity of contemporary Japan and move across mass media, impulse goods, creative industries, and juvenile tendencies. The concept, graphic styles, and commodities related to a kawaii culture are composite. This article, in its first part, outlines the theories and general features of this cultural trend in Japan and as it is framed in most western countries. In the second part, it also focuses on whether and how the concept and the related styles and commodities have found a place in Europe, with particular reference to Italy and France. These two countries, in fact, have been since the late 1970s the key markets in the Euro-American region for Japanese contemporary culture for youths, namely Japanese comics (generally called manga) and commercial animation (or anime). Anime and manga are, in effect, an integral part of the theoretical discourse on kawaii in the two markets considered, as it is discussed accordingly in the second part of the article. In its last section, the article addresses the impact of kawaii styles on youth cultures in Europe, which is, although limited, multidimensional: it has involved spontaneous drawings among children, a certain amateur and professional comics production, amateur and commercial animation, toys and a diverse merchandising, street art, and fashion design.

/pdf/kawaii-aesthetics-from-japan-to-europe-theory-of-the-vldcevv3ll.pdf

Kawaii Aesthetics from Japan to Europe: Theory of the Japanese “Cute” and Transcultural Adoption of Its Styles in Italian and French Comics Production and Commodified Culture Goods

"Performing Archives/Archives of Performance contributes to the ongoing critical discussions of performance and its disappearance, of the ephemeral and its reproduction, of archives and mediatized recordings of liveness. The many contributions by excellent scholars and artists from a broad range of interdisciplinary fields as well as from various locations in research geographies demonstrate that despite the extensive discourse on the relationship between performance and the archive, inquiry into the productive tensions between ephemerality and permanence is by no means outdated or exhausted. New ways of understanding archives, history, and memory emerge and address theories of enactment and intervention, while concepts of performance constantly proliferate and enable a critical focus on archival residue. Covering philosophical inquiries as well as discussions of specific artworks, performances, and archives, the contributions to the field of performance studies and one of its central concern: performance and its disappearance and reproduction" -- p. [4] of cover.

Performing Archives/Archives of Performance

Under the headline of 'Japan Cool', popular culture from Japan has gained a significant role in the global market within the last decade. One of the concepts related to 'Japan Cool' is kawaii, meaning cute and sweet, both as a style and a lifestyle. Kawaii can be seen as visual trademarks in fashion, manga, anime, and many other parts of popular culture, as well as in visual arts by neo-pop artists such as Murakami Takashi and his associates. However, kawaii as a critical concept, has been flourishing in Japan since the 1980s, and has been the topic of sociological research that stresses the subversive and critical dimensions of the word. This article investigates how artworks can offer an ethnographic account of kawaii as a sign of ambiguity and thus signify important social currents in Japanese youth culture in the decade before 'soft power' became the agenda for official Japan.

/pdf/cute-and-cool-in-contemporary-japanese-visual-arts-4q54q8dld5.pdf

Cute and Cool in Contemporary Japanese Visual Arts

Kusama Yayoi has been active as an artist for more than 50 years, and is highly acclaimed both in her native Japan and in the United States, where she spent more than a decade of her career. A large corpus of critical reviews, catalogue texts, interviews and autobiographical writings by and about Kusama has been published over the years, and this paper investigates a specific topic in these texts concerning the discourse of madness. A persistent myth of Kusama as a'mad' artist emerged in the early and mid-1980s, but has influenced the interpretations of her whole oeuvre. Based on three texts written by Kusama, this paper shows that the artist herself did not describe her artistic processes in psychopatholocial terms at the early stages of her art production. I shall argue for more accurate interpretations of Kusama's art, based on the artist's own accounts as well as trends on the contemporary internatinoal art scene.

/pdf/the-myth-of-the-mad-artist-works-and-writings-by-kusama-6748vmpxzn.pdf

The Myth of the Mad Artist: Works and Writings by Kusama Yayoi

At the time when Yanobe passed on his bicycle, less than a year after the Expo ’70 had ended, most of the buildings, pavilions, and infrastructure from the Exposition had been torn down, leaving only a few selected buildings and monuments among heaps of scrap and broken concrete. Yanobe’s personal childhood experience at Expo ’70 was therefore not mirai no toshi, city of the future, but rather what Yanobe terms ‘mirai no haikyo, ruins of the future.’ [1] Many art works by Yanobe Kenji are conceived and created from this concept of ‘mirai no haikyo, ruins of the future,’ which bears a contradiction: ‘future’ is usually associated with something not yet in existence, something to come, something that has to be constructed and built up or carried out, while the word ‘ruins’ is associated with the past, something that does not exist anymore in its original form, but is in a state of decay or demolition. Yanobe investigates this tension by focusing not on the future from where we are in time and space right now, but how the future was imagined and constructed in the past. The ruins in Yanobe’s concept are not the relics of history but what we can see and experience around us in present time, namely the leftovers of that imagined future. Yanobe’s narrative of mirai no haikyo contains more than a childhood memory of things lost and demolished. Yanobe also tells the story of the origin of his artistic vision because he witnessed, among other things, the demolition of giant robots that had been one of the main attractions during the Expo ’70. It had an impact on Yanobe that later led him to create large robot-like sculptures that could move or be operated from inside; a concept that has been a part of his artistic projects since his first work Tanking Machine in 1990. (http://web.iminet.ac.jp/yanobe/aw/aw_tankingmachine.html) [2] The idea that all his ‘wearable sculptures’ are able to actually function in real life was conceived at the time when Yanobe saw the last glimpse of the Expo robots through the fences of the former Expo site

http://www.performanceparadigm.net/index.php/journal/article/download/22/19

Ruins of the Future: Yanobe Kenji Revisits Expo '70

These strong emotions were a result of several changes in Yanobe’s personal life as well as the geopolitical situation of the world, all of which were reflected in an extensive art project that he staged in 2003 at the site of the former Expo 70 in the outskirts of Osaka. Yanobe’s art project was a confrontation with his own romantic ideal and artistic practice, in which he had previously been performing what he identifies as ‘the protection of my own body’ (2008: 246) but which he had now found challenged by reality. In the quote above, Yanobe acknowledges a misperformance, as if the basic tool for an artist, the imagination, would stop working and he would cease being an artist altogether. But what exactly caused this misperformance and the subsequent abolishment of his visual and conceptual art signature, the Atom Suit? Responding to the theme of misperformance, this text will try to locate the particular situation in which Yanobe Kenji misses his trajectory and in broader sense will discuss key elements in regards to visual arts related to issues of social and political concern. My point of departure is the national performance of post-war Japan, which has been extremely successful in mainstreaming selected elements of cultural products and identities, resulting in distorted images of Japanese culture and visual arts both in and outside Japan. However, part of the Japanese cultural landscape, which is much less known, is the recent use of art and culture within explicit acts of political protests. As Môri Yoshitaka points out, many young activists in Japan are equally motivated by politics as by artistic practice. Moreover, they often have a keen interest in historical predecessors in the 1960s and engage in subversive re-enactments of political activism as performance (Môri 2005: 19). My focus will be on the slippage of iteration that takes place between two separate but interconnected fields: political activism that relies on misperformance as a way of interfering with panoptic power structures on the one hand and artistic performance embodied in physical engagement and the fear of falling on the other. After a brief introduction to the contemporary Japanese artist Yanobe Kenji, I will focus on Expo 70, the first world exposition in Japan, as a spectacle that reinforced national performance. This leads to a discussion of political movements in Japan in the 1960s and a focus on anti-Expo activism as misperformance. The next part will deal with Yanobe Kenji’s present-day re-enactment related to Expo 70. Finally, I will discuss this two-fold misperformance in light of Yanobe’s own Fear of Falling Misperformance and re-enactment in national spectacle

/pdf/fear-of-falling-misperformance-and-re-enactment-in-national-2g8f2vokkf.pdf

Fear of falling: misperformance and re-enactment in national spectacle

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