Publication, Writing / カタログと執筆文献



Non-Linear Modern
Nobutaka UEDA ―Paintigs and Computer Graphics 2000-2003
非線形性モダン―植田信隆 絵画とコンピューターグラフィクス 2004




 


Non-Linear Modernism
Previous modernism was based on two major elements, science and mysticism. Earlier in history, art was something that could harmonize the spirituality of religion and the materialism of modern science. If art loses spirituality it faces “death.” It can only play the role of a jester in relation to science or be a subcultural king without clothes. A culture that
retains the impulse to progress must be based on non-linear science and cannot be reductionist. It must also create a new spirituality. This is the new Modernism that I dream about, a non-linear Modernism. Perhaps I am sowing the wind. Will people reap the whirlwind as a result? Will they gather rice stalks with no grain in them? All I know right now is that in order for self-organization to occur we need a “fluctuation,” a perturbation like a breath of wind.

Editing Nobutaka Ueda
Design  Hidenori Kodama
Author  Yutaka Matsuzawa, Nobutaka Ueda
Translation Stan Anderson
Publication Nobutaka Ueda

48page A4 size
2004

モダニズムはエレガントな引き算、ポストモダンは自在な滑走遊戯だった。私が提唱したいのは、非線形性モダンであるそれは、自己組織化や、あるいは、自己編集化を機動力とする文化である。新たな動的進化を迎えるための条件を満たし得る概念である。


編集 植田信隆
デザイン 児玉秀則
著者 松澤宥、植田信隆
翻訳 スタン・アンダーソン
出版 植田信隆 2004年
A4版 48ページ





Nine poems on the Vanishing of Hiroshima
消滅するヒロシマに捧げる九つの詩 2004






This catalogue was published in commemoration of the exhibition; "Yutaka Matsuzawa and Nine Pillars" which was held in Hiroshima city of Museum of contemporary art from December 18, 2004 until January 23, 2005.
The atomic bomb was dropped on Hiroshima at 8:15 A.M.on August 6, 1945. It was black spot in history. The city vanished in a moment. I was born in Hiroshima in February , 1957, twelve years after the bombing. It is uncertain whether residual radiation was still present at that time. As a child, I played in th neighborhood of the Hiroshima Dome, the ruins of the building that was at the epicenter of the blast. At that time, there was nothing but a chain-link fence around the dome, and itis said that there were still human remains under the weeds inside the fence. As I grew up in this landscape, my mental image of the dome continued to be changed and revised. Gradually it became separated from the real ruins of the dome, which seemed more and more like a plastic model. About three years ago, in a conversation with mr. Keijiro Sato*, I was confronted with the problem of how to treat the victims of the atomic bomb in art. At that time, because of the gap between my mental image and reality, I could not find an answer. However, I was left with a strong desire to find a solution to this problem. This book "Nine Poems on the Vanishing of Hiroshima" is my attempt at an answer. It is an effort to carefully examine a burden that I cannot set down. I would like to express my appreciation to Yutaka Matsuzawa and Iseo Nose, who responded to my invitation to make a book on the theme of the atomic bomb. I hope that this book, "Nine Poems on the Vanishing of Hiroshima" will be a bridge across the river of forgetfulness, linking the past and the future.
  
*Keijiro Sato ,composer and visual artist, was a member of Jikkenn Kobo (Experimental Workshop).

Editing Nobutaka Ueda
Author Yutaka Matsuzawa、 Nobutaka Ueda、 Iseo Nose
Translation  Stan Anderson
Publication Akio Morinobu Academeia co.,Itd

10 leaves 20 page
A4size 2004

時間の矢を滑る破壊の波と常に眼前に迫りくるカタストロフィー。かつて、その波に飲み込まれ消滅した街、廣島。あらゆる努力にもかかわらず消滅しようとするヒロシマの記憶。燃え上がる折り鶴。近未来の人類の滅亡と共に再びこの街は、消滅する運命をたどるのだろうか?


A4サイズ , 10枚 20 ページ
編集 植田信隆
執筆 松澤宥、能勢伊勢雄、植田信隆
写真 能勢伊勢雄 細川浩史 
翻訳 スタン・アンダーソン
出版 有限会社 アカデメイア
   森信彰雄

   2004年
日本語、英語





Crystallography of turbulent flow Works of Nobutaka Ueda 1997-1999
乱流の結晶学 2000




 


Open System, Nonequilibrium and Autocatalyst
Nobutaka Ueda
We can turn down our eyes on the coming art to the inside of ourselves. Someday it will be unfolded to reality.

  The culture today is characterized on the one hand by the extreme of creativity reduced to show an inflexible and materialistic tendency and on the other by the extreme imagination stunted and almost drying up. I wish this collection of my works will be a little fluctuation to be an origin of a flow opposing the culture which drops into the extreme ends. It is long since transition to an advanced new system which can be referred to as a culture dissipative structure has been expected in art, politics, economy and education. Are we now, however, actually enterning a new age? Erich Yantsch points out the following conditions of self-organizing dynamics ("Self-transcendence=Evolution" system) in his book titled "The Self-Organizing Universe".

Open system : Exchange with ambient environment

Nonequilibrium : Conditions far from heat equilibrium due to an existence of a flow of a physical content such as heat toward inside of a system, in other words, hot boiling and bubbling conditions.

Autocatalyst : Conditions under which a produced substance or a system accelerates its production process by itself. It is considered as a self-replicating positive feedback loop.

  What on earth is art satisfying these conditions? Modernism has made a self-replicating development being supported by a concept of evolution and by linear reductionism which can be referred to as a kind of scientific dogma in spite of its materialistic aspect, while the "Mono-ha" school satisfied the condition of the open system by incorporating an environment as a part of the work. The modernism and the minimalism derived therefrom, however,finally came to a deadlock since they were closed systems in which only formative elements were reduced to be simplified, while the "Mono-ha" school failed to develop to a new stage since it was an equilibratory system without dynamism. Postmodernism successfully achieved an open system by plagiarizing others with collage-like techniques at the sacrifice of its self-replicating development.
  It is quiet time now for us to search for the "coming art". What is called contemporary western art has already begun to harden materialistically or to be subsumed under a communication theory. Now we need to take a step toward another direction. The Self-Organizing Dynamics theory, however, is just a means of showing an aspect of reality. Which aspect, however, is shown in a certain time is not a matter to be ignored; rather, it is important to check the direction in which we started to step forward. I still believe in this age of the cultural crisis that the transition to a new system originating from this little fluctuation will be successfully accomplished by talented people.

Editing Nobutaka Ueda
Author Naoyuki Takashima, Kimitoshi Sato, Nobutaka Ueda
Translation Takami Abe
Publication Nobutaka Ueda
46page 19.5cm×21cm 2000
『解放系/非平衡/自己触媒』‥‥このカタログで初めて、私は非線形性モダンの概念を明らかにした。それは、自己組織化、非線形性科学、神秘主義、場の理論などの入ったレトルトだった。それを外からではなく、内側から眺めた景色として想像していただければと思う。‥‥「私達は、来るべき芸術への眼差しを自らの内側へと織り込むことができる。そして、それはいつか現実へと披きだされるだろう。」


46ページ 
(写真 カラー 12ページ、モノクロ 13ページ)
サイズ 19.5cm×21cm
<執筆者及びタイトル>
『「眼を閉じること」の意味 ― 内視の力
植田信隆のモチーフについて』 高島直之/美術評論 
『色彩の源流』 佐藤公俊/シュタイナー研究
『開放系/非平衡/自己触媒』 植田信隆
翻訳 阿部尊美
編集、出版 植田信隆 2000年
日本語 英語





Self-Organaizing Chaos
Works of Nobutaka Ueda 1996-1997

自己組織化するカオス 1998






Self-Organaizing Chaos
Editing Nobutaka Ueda
Author Ryoichi Hirai, Kimitoshi Sato, Nobutaka Ueda
Publication Nobutaka Ueda
40page 19.5cm×21cm 1998
この出版物に掲載された作品は、還元主義的な科学観に浸透されない別の世界観による表現の一つの試みです。ここにあるのは、主客の二項対立ではなく有機的統一性なのです。まして、脱構築や主体からの離脱ではありません。そのような相対化への試みではないのです。‥‥この試みで重視しているのは、エネルギーが流入する解放系としての場であり、自己組織化という変容の過程なのです。


40ページ (写真 カラー 20ページ、モノクロ 2ページ)
<執筆者及びタイトル>
『崇高と画面と』 平井亮一(ひらい りょういち/美術評論)
『新たな統合を求めて』 佐藤公俊(さとう きみとし/シュタイナー研究)
『自己組織化するカオス』 植田信隆
19.5cm×21cm 40ページ
編集、出版 植田信隆 1998年
日本語 





Other writings and publications
その他の出版物と執筆文献

Opening Exhibition Vol.2 "Dawn of Gods"  Oita prefectural Art Museum catalogue  2015-6
●大分県立美術館開館記念展Vol.2 『神々の黄昏』カタログ 『僕の感動してきたもの』
“Marriage of art and science – UTSROBUNE” catalogue 2011
芸術と科学の婚姻 虚舟 UTSUROBUNE カタログ 2010 

”Forma Vol.22” 2007
フォルマ Vol.22 2007

”Spectacle Iseo Nose 1968-2004” 2004
スペクタクル 能勢伊勢雄 1968-2004  2004

”The Nine Pillars” 2003
九つの柱  2003

”Space for Meditation; Mandala Onomichi Mandala” catalogue 1998

観想の空間 曼荼羅・尾道・マンダラ カタログ 1998 









掲載されている内容の一部あるいは、全てを許可なく複製または改変することは、
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