Review of Japanese Culture and Society最新文献_第10页

Design and Society in Modern Japan: An Introduction (with a Bibliography by Tsuji Yasutaka and Kikkawa Hideaki) 现代日本的设计与社会:导论(附Tsuji Yasutaka和Kikkawa Hideaki的参考书目)

Review of Japanese Culture and Society Pub Date : 2017-08-24 DOI: 10.1353/ROJ.2016.0021

Ignacio Adriasola, S. Teasley, Jilly Traganou

{"title":"Design and Society in Modern Japan: An Introduction (with a Bibliography by Tsuji Yasutaka and Kikkawa Hideaki)","authors":"Ignacio Adriasola, S. Teasley, Jilly Traganou","doi":"10.1353/ROJ.2016.0021","DOIUrl":"https://doi.org/10.1353/ROJ.2016.0021","url":null,"abstract":"Introduction to a special issue of the peer-reviewed journal Review of Japanese Culture and Society. The introduction, which draws on the expertise and knowledge of the three co-authors in modern art history (Adriasola), social history of design (Teasley) and spatial design studies (Traganou), sets out research questions, challenges and opportunities for studying the relationship between design and society in Japan, 1900-2015, looking both historically and at contemporary practice. The introduction intends to introduce current concepts of design as social practice to historians and other arts, humanities and social science scholars of Japan, and to demonstrate how a perspective that sees social spaces and networks as 'designed', and that views design and architecture practice and products as valid, valuable examples of historical conditions, can enable humanities scholars to engage more effectively with research into modern and contemporary Japanese culture and society. The introduction also offers an overview of key historical developments and conditions for design as an industry, profession and product in Japan, c. 1900-present day. It ends by challenging scholars who engage with design in Japan to address questions around gender, class and other determinants of power relations, and to understand design as an expanded practice, beyond the outdated, inaccurate and limiting view of design that persists within Japanese studies.","PeriodicalId":357136,"journal":{"name":"Review of Japanese Culture and Society","volume":"14 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-08-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122276758","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 1

Place-Making Before and After 3.11: The Emergence of Social Design in Post-Disaster, Post-Growth Japan 3.11前后的场所制作:灾后、后增长的日本社会设计的出现

Review of Japanese Culture and Society Pub Date : 2017-08-24 DOI: 10.1353/ROJ.2016.0034

C. Dimmer

引用次数: 8

A Testimony from the Postwar Period (2008) 《战后的见证》(2008)

Review of Japanese Culture and Society Pub Date : 2017-08-24 DOI: 10.1353/ROJ.2016.0028

Nakai Kim Kōichi, Kim Mc Nelly

{"title":"A Testimony from the Postwar Period (2008)","authors":"Nakai Kim Kōichi, Kim Mc Nelly","doi":"10.1353/ROJ.2016.0028","DOIUrl":"https://doi.org/10.1353/ROJ.2016.0028","url":null,"abstract":"From Wartime to the Postwar Period—The Rebirth of Advertising Before speaking of the situation within the postwar advertising industry, let me touch on the state of things during the war. With the wartime paper shortage, newspapers became single-page collotypes. I was at the battlefront by then, so I only heard about this later. Evidently, with the war and shortages, there was no room for newspapers to waste on advertising. However, corporations still had publicity managers. Arai Seiichirō and Imaizumi Takeji, who were working for Morinaga and Marumiya at the time, were saying we can’t just sit around and do nothing: we should be working for our country.1 So they called on their fellow advertising managers and in 1940 formed the Society for the Study of Media Technology (Hōdō Gijutsu Kenkyūkai).2 Even the government realized their need for a news media outlet and created a Media Department (Hōdōbu). Hanamori Yasuji, who later became the publishing editor of the magazine Notebook of Everyday Life (Kurashi no techō, 1948-present), became their external civilian liaison. In making him the liaison, first Arai and Imaizumi, then later Yamana Ayao, Itō Kenji, Maekawa Kunio, Hara Hiromu, Fujimoto Michio, Takada Shōjirō and other advertising managers cooperated in the war.3 After the end of the war, the Tokyo Chamber of Commerce and Industry (Tōkyō Shōkō Kaigisho) asserted that the reconstruction of Japan was to begin with the restoration of commerce and industry. Today we have the Federation of Economic Organizations (Keidanren) and the Association of Corporate Executives (Keizai Dōyūkai), but at the time it was the Tokyo Chamber of Commerce that served this role. At the chamber’s request, Arai and Imaizumi called upon their wartime associates and formed a new advertisement research society in the postwar period, which would become a forerunner to the later Tokyo Art Director’s Club (Tōkyō Āto Direkutāzu Kurabu, ADC). A Testimony from the Postwar Period (2008) Nakai Kōichi","PeriodicalId":357136,"journal":{"name":"Review of Japanese Culture and Society","volume":"61 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-08-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114357596","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Conclusion to Introduction to Commercial Art (1930) 《商业艺术导论》(1930)结束语

Review of Japanese Culture and Society Pub Date : 2017-08-24 DOI: 10.1353/ROJ.2016.0025

Hamada Masuji, M. Kołodziej

{"title":"Conclusion to Introduction to Commercial Art (1930)","authors":"Hamada Masuji, M. Kołodziej","doi":"10.1353/ROJ.2016.0025","DOIUrl":"https://doi.org/10.1353/ROJ.2016.0025","url":null,"abstract":"The Development and Future of Commercial Art In conclusion, commercial art has emerged from the disintegration of art and the aestheticization of commerce. I have previously discussed the style and aesthetics of commercial art. Now, what about its development? Since commercial art is art with a purpose, it pertains to pragmatically useful activities – but is that all? The reason commercial art constitutes a new and definitive art is that it has fully united the actual form of commerce – which is not commercialism, as in its true form commerce is simply distribution to many people – with the newly conceived form of production-art: commercial art becomes productive and simultaneously resists power when it merges commerce and production-art and moves them toward spiritual elevation.1 An art that is truly useful to society is thereby created, and the power of art manifests itself to society for the first time. This may appear difficult to understand, but can easily be elucidated with further explanation. Beauty borrows the form of produced objects so that it can reach the masses. In other words, posters, display windows, products, stage design, and printed matter – all these things created for a purpose are imbued with beauty that people can perceive through their senses. Display windows are beautiful, cars are beautiful, plates and containers are beautiful; they are endowed with a beauty resplendent to people (which is nevertheless also productive). Le Corbusier’s words on industrial aesthetics and architecture can be applied to all produced objects: “An architect satisfies our senses and activates a feeling of form. Similarly, he creates an echo in our hearts, shows us the order that should exist in this world, appealing to both our feelings and understanding. Indeed, through him, we sense beauty for the first time.”2 In other words, we are able to extract a sense of Conclusion to Introduction to Commercial Art (1930) Hamada Masuji","PeriodicalId":357136,"journal":{"name":"Review of Japanese Culture and Society","volume":"28 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-08-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129319653","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Ba of Emptiness: A Place of Potential for Designing Social Innovation 空之巴:设计社会创新的潜力之地

Review of Japanese Culture and Society Pub Date : 2017-08-24 DOI: 10.1353/ROJ.2016.0035

Y. Akama

引用次数: 0

What Is Modernology (1927) 什么是现代学(1927)

Review of Japanese Culture and Society Pub Date : 2017-08-24 DOI: 10.1353/ROJ.2016.0024

Kon Wajirō, Ignacio Adriasola

引用次数: 4

From Design to Environment: "Art and Technology" in Two1966 Exhibitions at the Matsuya Department Store 从设计到环境:1966年在松屋百货商店举办的两场展览中的“艺术与技术”

Review of Japanese Culture and Society Pub Date : 2017-08-24 DOI: 10.1353/ROJ.2016.0038

T. Yasutaka, Nina Horisaki-Christens, R. Tomii

{"title":"From Design to Environment: \"Art and Technology\" in Two1966 Exhibitions at the Matsuya Department Store","authors":"T. Yasutaka, Nina Horisaki-Christens, R. Tomii","doi":"10.1353/ROJ.2016.0038","DOIUrl":"https://doi.org/10.1353/ROJ.2016.0038","url":null,"abstract":"In November 1966, when visitors standing on the busy thoroughfare of Ginza stepped into Matsuya Department Store, few of them probably remembered that the store had been commandeered by the Occupation Forces and served as the Tokyo Main PX (Post Exchange) for military and occupation personnel from 1946 to 1952. Those who ascended to Matsuya’s eighth floor encountered two exhibitions side by side when they got off the escalator. One exhibition, to the left, Good Design, continued one of the store’s signature cultural programs that dated back to the establishment of the “Good Design Corner” in 1955 (fig. 18.1). A place to showcase design objects that could be used in everyday home life, the corner featured a Good Design exhibition, organized almost annually, to promote and make accessible the idea of modern design. That year, the exhibition included such functional objects as plastic-made lighting devices and table calendars. The other exhibition, to the right, From Space to Environment (Kūkan kara kankyō e), was an art exhibition that promoted a different kind of modernity: the marriage of art and technology (fig. 18.2).1 Subtitled An Exhibition Synthesizing Painting + Sculpture + Photography + Design + Architecture + Music, the exhibit decisively advocated “intermedia,” gesturing toward the productive collaboration among practitioners of various disciplines,2 and is considered a landmark in defining the course of 1960s art in Japan. Indeed, once inside, the visitors saw twoand three-dimensional objects that transcended the standard definitions of “painting” and “sculpture”—some hanging from the ceiling, some emitting light, and some others otherwise challenging the visitors’ conventional idea of art. An ambitious goal of the organizers was to have the visitors experience an aggregate formation defined as an “environment” that encompassed the interior and exterior of buildings as well as the viewers. Situated innocuously side by side, Good Design and From Space to Environment were different from each other—more so than they might first appear to the unsuspecting From Design to Environment: “Art and Technology” in Two1966 Exhibitions at the Matsuya Department Store Tsuji Yasutaka","PeriodicalId":357136,"journal":{"name":"Review of Japanese Culture and Society","volume":"80 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-08-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131679604","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 1

An Introduction to the World of Tools (1969) 工具世界简介(1969)

Review of Japanese Culture and Society Pub Date : 2017-08-24 DOI: 10.1353/roj.2016.0032

Ekuan Kenji, Frank Feltens

{"title":"An Introduction to the World of Tools (1969)","authors":"Ekuan Kenji, Frank Feltens","doi":"10.1353/roj.2016.0032","DOIUrl":"https://doi.org/10.1353/roj.2016.0032","url":null,"abstract":"The word dōgu—tools—is utterly familiar to the Japanese. With every new era, this word has followed in our shadow and never ceased to be a part of us. When the bond between a parent and child is severed, when siblings become estranged and couples separate, tools still stand firmly at people’s sides. They transcend sorrow and joy and are just like the second hand of a watch that ticks away without pause. The history of tools, beginning with objects in clay and stone, can be said to constitute none other than human history itself. The history of tools, objects unable to speak for themselves, trails the history of mankind like a shadow; man and tools emerged on this earth together. When the shadow stops moving, human history comes to its end. The different kinds of tools lined up in museum galleries are reenactments of the drama of their times. They are human landmarks and the thumbprints of mankind. Tools are quiet at first glance, yet they are adamant and bind themselves to human life. This way, though lacking a mouth to speak, tools gain eloquence; without ears, they somehow listen; without eyes, they possess the power of observation; and, without feet, they seem to run. The variety and quantity of tools by far exceed those of living beings, and tools multiply year by year, time and time again. Just as the aspirations of man have no limits, the world of tools grows without bounds. The world of tools impacts human beings from the inside out, by reaching deep into our internal psyche, into our joys, fears, longings, and pleasure. In the process, otherwise invisible forces assume a range of shapes and materialize as features of human life. Individuals, families, societies, peoples, nations—there is no entity that is not impacted by tools: from binoculars and electron microscopes that vastly surpass human eyesight, to microphones that increase a voice’s volume; from bikes and cars that carry us faster than our legs, to axes, hoes, hammers, bulldozers, or presses that expedite the strength of arms, countless tools upsurge the capabilities of human individuals. Through tools, humans have also become aware of a hitherto hidden power. The concentrated force An Introduction to the World of Tools (1969) Ekuan Kenji","PeriodicalId":357136,"journal":{"name":"Review of Japanese Culture and Society","volume":"28 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-08-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131831614","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

The City of the Future (1960) 未来之城(1960)

Review of Japanese Culture and Society Pub Date : 2017-08-24 DOI: 10.1353/ROJ.2016.0031

Kawazoe Noboru, Ignacio Adriasola

引用次数: 0

Japan's Industrial Arts: Present and Future (1917) 日本的工业艺术：现在与未来》（1917 年）

Review of Japanese Culture and Society Pub Date : 2016-12-01 DOI: 10.1353/ROJ.2016.0022

Yasuda Rokuzō, Penny Bailey

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引用次数: 0